Election day 2016! It's been a long campaign...
Recently I had the honor of photographing Professor Jeff Lichtman of Harvard University for the third time. In each shoot, I have photographed Professor Lichtman with a microscope. I wanted to continue the theme on this assignment. His current microscope is one of a kind microscope that produces the most amazing images of the human brain. However, it looks like a large refrigerator. To make image more interesting and include a visual of his work, I projected one of his images on his microscope.
We had 2 hours including set up time to produce three situations requested by the client. I knew the one with the microscope would be the most difficult. I always start a shoot with the most difficult shot. The other 2 portraits requested were one in his office and another on the stairs.
I had the Professor show me his lab and we discussed ideas for the photographs. I told him we needed about 20 minutes set up time, and suggested he might want to go back to his office to work. There is no reason for the subject to watch you light. People have a limited amount of time set aside to be photographed. The less of their time I tie up, the happier they are in the photographs.
As I constructed the photograph, I had my assistant stand-in for the subject. The first few test frames were shot available light using a 17-35mm lens at 17mm ISO: 3200 F8 & 1/40.
When lighting a photograph like this I, add 1 light at a time. To light my subject I used 2 Dynalite Baja 400WS strobes. One on his face and one as the hairline light. The hairline light also gave me separation from my background. The Baja has a build in battery and no cables for me to trip on! Both strobes had a 10 degree grids to control where the light was aimed. To further control my light, I put Rosco FotoFoil on the side of the strobe closest to the background to prevent light spilling on the microscope.
To create the background, I attached a projector with a wide angle lens to a computer and projected one of the Professors slides. The key to projecting images on a background is not having any light from your strobes or any other light source hit the area with the projection. When I do a photograph like this, I always turn off the overhead lights. The room was dark when I was shooting. I had to use the flashlight on my phone to focus. Make sure your modeling lights are turned off.
We moved projector and adjusted its hight to project the Professor's research on his large white microscope. The projector was placed to the right of the Professor, 2 ft off of the floor.
To determine exposure for the background I used the in-camera meter. With the camera set on manual I set the aperture to the same f stop as the strobe reading and lowered my shutter speed until the exposure from the strobes in the foreground and the ambient light from the projector were the same exposure. The strobe f stop was determined with a Sekonic 478 meter. The final exposure was 2.5 seconds shot at f11. Jeff was lit for duration of the flash, while the background burned in. The image was shot on a Nikon D810, a Nikon 24-120 lens on an Induro tripod and Nikon cable release.
Equipment Used for the shoot:
Rosco Rick Friedman Location Lighting Kit
2 Daynalite Bajas Portarble Strobes with 10 degree grids
Nikon cable release
2 Light stands
Sekonic Lightmeter 478
Extention code for the projector
I love photographing academics. I find it fascinating to work with some of the world's greatest minds!
Upcoming Workshop Schedule: Hope you can join us!
September19 & 20
Hunts Photo, Providence RI
Hunts Photo, Manchester, NH
October 17 & 18
Hunts Photo Portland, ME
PhotoPlus, New York
Adorama sponsored by Dynalite
Happy Tuessday! I am excited to tell you I was recently interviewed by Robert Caplin for the Photo Brigade Video Podcast at Adorama in New York City. The video podcast is now available! I talked about a bit of my career as a photojournalist, my approach to lighting and my Location Lighting Workshops.
Check out the Photo Brigade! Great resource for the photographers!
Here are the behind scene from this interview at and around Adorama in New York City!
Thank you for having me!
My destination Location Lighting Workshop held at the Societies Photographic Convention, aka SWPP in London resulted in some wonderful images and was an event teeming with an abundant source of gear and creative alternatives. The workshop was held at the Asylum, at Caroline Gardens Chapel in Peckham, London.. The Asylum was built between 1827 and 1833, bombed during WWII and semi restored. This provided an incredible place to hold a lighting workshop as it afforded us endless possibilities to create moods and scenes depicting a variety of situations. We had 2 great models and masses of equipment from The Flash Center, Rosco, PocketWizard, Chimera Lighting and Rogue Flash Benders.
The lighting on this image was an Elinchrom Ranger Quadra strobe with a Chimera Strip Light on the right side of the model. On the left side of the model and slightly behind her was another strobe with a Rosco #83 Blue gel. Placed in front of the blue gel was a grid made out of Rosco CineFoil to control the light direction and break up the light beam. The smoke was created using a Rosco Vapour fog machine.
If you back light your smoke, it will have a greater effect. This is true when using a fog machine or when photographing smoke from a cigarette or cigar. This photograph was shot on a Nikon D-800 with a 24-70 Nikon lens at 35mm, 1/100 of a second at f5, ISO 100.
The photograph below is a mixture of strobe and ambient light. The light on the models face is from a strobe through a Chimera 30" beauty dish. The light on the left side of the background is ambient light and the colors were from the bright sunlight shining through the stained glass windows about 20 feet above the floor. This was shot on a Nikon D800 with the lens at 24mm , 1/125 of a second, at f 4 ISO 1000.
Here are a few more images from the Asylum workshop.
I had a great assignment on New Year's day photographing Rob Gronkowski of the New England Patriots for Sports Illustrated at Gillette Stadium in Foxborough, Massachusetts.
As I arrived at the stadium, there were still some question about where the shoot would take place. What I did know was that I was going to have about 15 minutes to photograph Gronk and it was going to be somewhere at the facility. We were hoping to photograph him in a weight room and with the help of the Patriots communications department, that's the space we were given. My assistant and I started moving equipment to the weight room. Once in the room I had to quickly determine what I wanted for my photographs, remembering the 15 minutes allotted for the shoot. I determined I could get 4 different photographs in my 15 minutes. That meant less than 4 minutes per shot, including any adjustments of lights or make up. The key to getting this done, is preset all the lights, test them, then re-test them. We did 2 different lighting setups. One on the weight machine and the mirror and another compete set of lights for the photographs on a backdrop. When we moved from the weight machine and mirror photographs to the backdrop, no lights had to be moved. Both Nikon cameras and all 4 Dynalite strobes had PocketWizards connected, all on the same channel. You want minimize any chance of anything going wrong. On a shoot like this I always have back up equipment, I don't need it, but it's there, just in case. All of the lighting tests had been done ahead of time using my assistant, who is about 1/3 Gronk's size as the stand in. We rehearsed how the shoot was going to flow. I put small pieces of tape on the floor as a mark for Rob to stand on.
After the standing and sitting shots at the weight machine, while I explained to Rob what I wanted for the shot with the mirror, my assistant moved the Chimera strip light on the left back 2 feet and turned the strip light on the right about 20 degrees toward the mirror. The beauty dish never moved from the first setup to the mirror setup and we lost no time during the quick change from one photograph to another and lost no time when we moved from the weight machine to the backdrop. When working with mirrors, watch for your reflection and the reflection of the strobes. This was shot on a Nikon D800 with a Nikon 24-70 f2.8 lens at 55mm ISO 100 at 1/200 f5.6.
How this was lit:
The lighting on the standing and sitting shots were a Dynalite Baja 400WS battery operated strobe with a 30" Chimera Octa Beauty Dish with an Egg Crate at a 45 degree angle for the front light. For the back lights I used a Dynalite Uni 400WS strobe with a medium Chimera Strip light on camera left. This is first soft box I owned and have had ifor over 30 years. I think I've gotten my money's worth out it. On the right side I used a second Dynalite Uni with a small Chimera Strip Bank. I had a PocketWizard Plus III on camera and on each strobe. The 4th light in this photograph was a Nikon SB 900 Flash with a Rosco #83 Medium Blue gel, behind Gronk on the bench, pointed at him. This flash was set on manual and fired using the SU-4 setting in the custom functions.
For the shot of Gronk in the mirror: the strip light on the left was moved towards the wall so it became the back light. The small trip light was turned about 20 degrees towards the mirror and the beauty dish and the beauty dish was not moved. All of my settings remained the same. This was shot with a Nikon 17-35mm lens set at 17mm.
The lighting on this photograph was a Dynalite Roadmax 800 power pack with 2 heads. The front light was a Chimera 5' Octaplus light bank on a Dynalite head. Opposite my main light is a Sunbounce Sunmover silver and gold zebra pattern reflector. The hairline light was a Dynalite head with an extension tube, a grid holder with a 20 degree grid and a Rosco 1/2 CTO filter to warm up the light. This was shot with Nikon D800 with a Nikon 70-200 f2.8 lens at 1/250 of a second, f5, ISO 100. I used a Sekonic L-478DR light meter to determine exposures and a Hoodman Loupe to check my focus. All the equipment was moved in ThinkTank cases. I recently got a ThinkTank Production Manager case. It is perfect for this type of shoot.
Last, but not the least, when you have a shoot like this, be nice to everyone. not just your subject, but the publicist and PR people. When I am working on creating a portrait, once I have an image I like, I will show it to the subject and ask "what do you think of the photograph we are creating?" The subject and I are creating the photograph together, I can't do it without them. The subject now feels more involved in the photograph, often makes suggestions and quite often give me a few more minutes to create the image. I gained an additional 5 minutes to my 15 minutes shoot, because it was a pleasant experience, Many may not see this, but it is very important!
Thank you SI for the wonderful assignment to kick off my year! I love my job!
I had an assignment to photograph author Nicolson Baker using a Kindle in Boston. For a location we chose the front of the Boston Public Library. It was a grey day with even light on his face. I did not have to light it, however, my sky would have been blown out and just muddy. By exposing for the sky and using my strobe to match the light on his face, I was able to produce this photograph with 1 Speedlight, 1 small soft box and a reflector.
My camera was set on manual and my strobe was on TTL. I took a meter reading off the sky, using the camera meter and underexposed it slightly to get a darker background. The strobe on TTL lit Baker's face from the right side and the reflector on the left bounced some of the strobe back on to his face, to give more even lighting. I needed enough depth of field so both Baker and the Kindle were in focus. My exposure was at ISO 320, F8, and Shutterspeed 1/80. I used a small Chimera softbox with a Speedlight ring. The Speedlight was triggered by a set of PocketWizard TT5s. In positioning the Kindle, I had to make sure that there was no glare on the screen from my strobe. This photograph was shot with a Nikon.
The timing also worked out. This photo shoot was done at the end of the day, because Baker had a book signing at the nearby bookstore after the photoshoot. If it was at a different time of the day, I would have come up with a different picture, as the Kindle and underexposed sky could not be matched for the exposure under bright sunlight. As a photojournalist, you don't always control certain aspects of your photo shoot, but you can always be prepared. It is important to see the photograph in the environment that is assigned to you and come out with a unique image each time. One of the elements I enjoy about photography is lighting and teaching other photographers about lighting. A lit photograph tends to have a lot more jump and snap to it and I get to choose where the light is coming from!
Come join us at one of my upcoming Location Lighting Workshops in Telluride & London
September 29-Octoberr 1 at the Telluride Photo Festival, Telluride, CO
January 16-18, 2015 Societies Photographic Convention, London, UK
Happy Lighting, everyone!
This week's "Tuesday's Tips" is from an assignment I shot at the MIT Media Lab in Cambridge, MA. The MIT Media Lab is a hub for innovative creations and one of my favorite places to photograph. I was at the Media Lab looking for interesting projects to photograph when I met Thad Starner who was working on wearable computing. Starner is now a professor at Georgia Tech. The idea for this shoot came about when Starner showed me a pair of glasses that had a computer monitor in the center of one lens, which he connected to a small computer in his pocket. With no preplanning, this is what I came up with.
Little did I know this was the beginning of "Google Glass".
The lighting on this photograph is 2 strobes and 2 computer monitors. I had to match the brightness of the two computer screens to detemine my exposure, matching the brightness of the large monitor in the background and the small computer screen embedded in his glasses. To obtain the exposure I used the meter in my camera. I needed a lot of depth of field for this shot, so that glasses and my subject were in focus. My focal point was Starner, seen through the glasses. The glasses were clamped to a light stand with a Manfrotto Superclamp. The main light was Dynalite 800 power pack and a Dynalite head with an extension tube, a grid holder on the end of the extension tube, a 10 degree grid and a sheet of Rosco Tough Spun over the grid to soften the light. I really needed to control my light on the subject, so there was no light spilled on the glasses or the screen behind the subject. Just off set, on the right side, I set up a speedlight with Rosco yellow gel and a snoot made of Cinefoil to outline the frame of glasses with color. The Cinefoil snoot was brought down so it was about a 1 degree opening. When making snoots out of Cinefoil, which is black tin foil, you have flexibility to make it any shape you want with any size opening, giving you great control over your light. To determine the exposure of both the speedlight and the Dynalite, I used a Sekonic lightmeter. If you are mixing speedlights and studio strobes, your speedlight needs to be on the manual setting (NOT TTL).