Monthly Archives: September 2009

RJ Mickelson Shoots Fashion Week for amNewYork

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Fashion-y post today! I recently ran across some fashion week pictures by RJ Mickelson for amNewYork. Here’s what ran in the paper:

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And here’s what Mickelson has to say about his first fashion photography foray (he usually shoots straight photo doc stuff):

I was shooting for amNewYork – we ran a Fashion Week photo spread. See attached for what ran; I was happy to be there and to have something in the paper. It was my first experience shooting fashion week so I had a number of notions about the event.

Most of what I had imagined included model divas, chaos backstage and a lot of yelling. I quickly realized that the event was far more controlled. Things operated efficiently and most everyone seemed intensely focused on whatever they were doing.

Shooting the models was a bit odd because typically I don’t work with models and most of the subjects I shoot aren’t aware of themselves as photo subjects. At Fashion Week, the models suddenly turned and gazed at me with a sexy picture-perfect look awaiting the shutter.  I was really intrigued by the whole thing.

I also wandered around a lot and like most of my work I took an interest in the periphery: staff, media, the waiting public which I hoped would give the work that isolated quality which separates the ‘talent’ from the rest of us.

Here are some of the shots Mickelson liked best:

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These folks SO could use an Induro Monopod to ensure a steady shot.

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Have a fabulous day!

Sydney, Red Dust Storms, and Tripods.

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Sydney, Australia was walloped with a red dust storm today, did you hear? Flickr went nuts in it aftermath. I spent all morning looking at red, dusty pictures, and it was a blast. Above is Bruce Kerridge‘s shot of the harbor near his home before and after the storm, just to give you a sense of how dramatic it really was.

Below are some more pictures from flickr: a few with tripods, just for fun. Click on an image to see its flickr page.

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photo by Tom Hide

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Photo by Africa Dunc

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Photo by AS Photos

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Photo by DM Maus

Have a red, dusty day!

Adventure Series Tripod Kits, and Review with Shutter Mike.

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Ahoy, friends! I hope you enjoyed your last day of summer- into Fall we go! I thought we’d ring it in properly, with a great review of Induro’s AB2 Adventure Series Tripod Kit. Didn’t know Induro had Tripod Kits? They do! Check them out, here. What’s so great about a kit, you ask? Well- here’s the deal:

“Induro Adventure Series Tripods come conveniently packaged as a complete kit, including tripod, head and carrying case. Ease of operation, quality and strength are integrated into lightweight, compact designs. These tripods are made from an advanced combination of magnesium and aluminum alloy and feature quick lock legs, a precisely matched interchangeable ball head, quick release plate and deluxe carrying bag with strap.”

See? Convenience and quality, my friends. Mike Small, over at Shutter Mike Photography reviewed the AB2 model recently. Have a read– excerpts are below.

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For my photography a tripod is an essential piece of equipment.  My night and long exposure photography cannot be done without one.  Therefore I think investing in a good, quality tripod is important.  When it comes to tripods you can spend a very wide range of money on one and get a very wide range of quality and functionality.  Before grabbing the cheapest one or investing a large sum in the top of the line there are a few things you should consider.

Where will you be using it?  Indoors or out?  Different models maybe better suited for the rugged outdoors while some are ideal for indoors studio use. What is your budget?  Get the best one you can afford, but be reasonable the more you spend does not equate to the better the photograph you end up with. How heavy is your camera with your largest lens?  Make sure the tripod you get can support the weight.

I wanted something that would last, was rugged enough for outdoor use and could hold my camera and my fantasy lenses that I yet to have.

I ended up with the Induro AB2 Tripod Kit.  Going with a kit is a cost saving way to buy a tripod.  Otherwise you need to buy the legs and head as two separate pieces.  At about $180, I felt this was a good price for what you get.  And what you get for that is:

-a 66.5″ tripod when fully extended (28.5 inched when collapsed)
-a ball head
-two bubble levels and a compass built in
-3 section quick locking legs
-load capacity up to 18.7 lbs – that should hold even the fancy lenses
-And a carrying case to boot

I have been using this tripod for a few months now and have no complaints.

-It is quick and easy to set up and adjust.
-The legs are sturdy and provide even, level footing on all the surfaces I have tried so far.
-The ball head allows for movement in any direction with ease.
-The camera can be mounted and released quickly.

Overall I feel I got my money’s worth in a solid, quality tripod that will last me for years to come.  I got something that meets the needs of the photography I do and the camera equipment I own.  The bottom line with tripods is that you should not skimp, but it is not necessary to go overboard either.  Knowing what will fit your photography style is key and you can easily find something in your budget that you are sure to be happy with as I am with my Induro AB2.

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Thanks, Mike!

Induro Interview: Elizabeth Weinberg

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Something fun today on this dreary Thursday: an interview with up-and-comer Elizabeth Weinberg, who has a very versatile fast and loose style that has allowed her to shoot all sorts of editorial and commercial projects. From concert shoots for Rolling Stone to fashion for NYLON to product work for Sony Ericsson, she has a very interesting career. Let’s have a chat!

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Hi, Elizabeth! I’ve been a fan of your work for ages, so I’m very excited to do a little interview. First, some background info– how did you start shooting?

I started shooting as a teenager, taking pictures of my youngest sister, who was born when I was a freshman in high school. It was sort of crazy having a baby in the house while I was doing algebra homework. I started documenting her growing up and running to the hour photo lab to get the film processed as soon as I finished a roll. I sort of fell in love with the suspense. At the same time, I became heavily interested in music and would shoot live at concerts I attended, mainly as an excuse to get up front. I’m not quite sure when photography became an addiction, but that’s the closest I can pinpoint!

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Abigail Weinberg

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Lifestyle work

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Flaming Lips in Concert

What subject matter did you start with? You seem to have several specialties (music, fashion, lifestyle). Did one get the ball rolling on the others?

Music was always first, and portraits of my friends were a constant as well. The lifestyle stuff has come about more recently, when I realized I could funnel the real-life type photography I do on a regular basis into a specific market that has the possibility for commercial appeal.

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Budos Band / RE:UP Magazine

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We’ve been talking a lot on the blog lately about film versus digital. I would never guess a large portion of the work on your site is digital. It’s so filmlike. Tell us all your processing secrets! Okay, maybe just a tip or two?

I won’t divulge all of my processing secrets, but I will give some advice: Shoot RAW. Pay attention to the color of light; in the late afternoon shade, peoples’ skin looks almost cyan! Highlights and shadows have different colors at different times of the day or under different kind of light. Film yields deep blacks, so emulate that in your digital processing.

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(film!)

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(digital!)

I’d prefer to shoot film all the time but it simply isn’t practical, financially or time-wise. The pain is lessened by the fact I’m often told my digital photos look like film!

What’s the best/most enjoyable editorial assignment you’ve had?

Hmm, this is a hard one. One that sticks out is recent: I just shot the Mighty Boosh for the September issue of NYLON. I knew little to nothing about them so I went to their Bowery Ballroom show the night before the shoot to get a sense of what they were all about, then I watched a bunch of stuff on YouTube. It was their first American performance so shooting them the next day was pretty sweet. They were really hungover and exhausted so we bought them a bunch of beer and we shot out on the street in SoHo as they heckled passers-by. I didn’t realize they had such a rabid following here in the States, so I’m glad I got a chance to shoot them when they first got here. They took direction really well and just ran with it.

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Best commercial?

Earlier this year I did a campaign for Sony Ericsson in Los Angeles and Mammoth Mountain. The product was a new 8 megapixel cameraphone, and they wanted me to shoot the entire thing with the phone itself, to prove that it was superior image quality. So here you have an assistant, art directors, account managers, models, the client, etc. all standing around me while I’m holding one phone in each hand, running around and shooting them alternately, side by side. Not your typical advertising job. There was little to no production involved: just me, the phones and a reflector. The entire experience was so freeing and really really fun. I had a huge amount of creative control. They hired me for my lifestyle eye and I just went to town.

What’s next for you, what work are you hoping to make in 2010?

I would love to shoot more documentary projects and assignments. I just did a reportage series on the Michael Jackson birthday celeration that Spike Lee put on in Prospect Park in Brooklyn. It’s on my blog. I went to school for photojournalism, and that itch for reportage has stuck with me since I started my career. I’d also love to work on more lifestyle campaigns, be it for catalogs or print advertising.

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Michael Jackson birthday celeration

Thanks Elizabeth!

It’s a Sporting Monday! Three Old, Three New.

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There’s been a lot of sportiness going on in my world lately, how about in yours? I found myself at a sports bar last night to watch the US Open Women’s final, and I was surrounded by 23 or so TVs excitedly blasting the football season’s premiere. I’m not historically a sports fanatic, but there was something comforting about all those glowing screens. Plus, I have Yankees tickets for tonight. So I’m really in the mood.

I’ve also been enjoying The New York Times’ Play Magazine recently, there’s a lot of strong photography. I thought it would be fun to explore some old and new sports photography juxtapositions. So here are three of each.

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Washington, D.C., circa 1915. "Women's tennis league section leaders." Harris & Ewing Collection glass negative.

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May 30, 1925. Chevy Chase, Maryland. "Miss Florence Skadding and H.J. McMullan. Opening of new pool at Columbia Country Club."

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Humberside Collegiate in Toronto, sometime in 1950

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Favre in the throwback New York Titans uniform worn by the Jets earlier this season. Photo by Vincent Laforet.

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U.S.C. football coach Pete Carroll. Photo by Levon Bliss.

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Offshore Sailing School’s becalmed Florida classroom. Photo by Cass Bird.

Go team! See more work by Vincent Laforet, Levon Bliss and Cass Bird.

Induro Interview! Photographer John Woodward.

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It was a real pleasure to be able to catch up with celebrated photographer John Woodward this past week; he graciously answered some questions for me, even while on the road for the US Open. Woodward is not just a photographer, but also a teacher- check out some of his instructional CDs, here.

And now, on to the questions.

How would you describe your photography practice- what do you most love to shoot?

I’ve been a professional photographer for over 40 years now. My work is very diverse. I did mostly event photography in the beginning of my career. I was the official photographer for the New York Yankees, and the Sponsors Tour photographer for the tennis tour. Much of this work was of the typical “grab and grin” variety.

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Many things I do involve setting up for receiving lines. That’s when a VIP meets a guest, and shakes their hand. The Induro tripods that I use are especially helpful at these events. Depending on the level of the VIP, I may set up as many as four cameras. These all fire with the press of a button from my Pocket Wizard.

My personal work has embraced the things that Photoshop can do. I make many panoramas, and may have as many as nine images that need to be put together for the finished product. It’s important that the horizon lines are accurate. Again, a tripod is essential if you want to be accurate. When I’m in the field, the Induro C213 is my favorite. The carbon fiber is incredibly lightweight and I have no fear of going into the ocean or rivers with it.

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How do you choose your gear- how have your choices changed since the rise of digital?

Digital has changed the game completely. I am looking for the largest sensor I can get my hands on. Commercial photographers believe that we can never have enough sharpness. We can always soften an image but we cannot truly sharpen an image. Tripods are once again essential for critical sharpness.

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What features are most important to you in a tripod?

Tripods are most important to me in making my panel panoramas. I also love the way the Induro tripods allow me to get low to the ground when I’m shooting children. That ability is critical when shooting the little ones. You have to get down to their level. You also don’t want to hide your face behind your camera. I can set up the camera on a tripod and work slightly away from it and trying to capture the attention of the children.

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What are you up to lately?

I’m just finishing up working at the US Open, where I’m using one of the Induro monopods. Then I go out on tour with Hanson, in our “Beauty And the Beast” presentation.

The beauty of what I do is the diversification. You’re speaking one day, judging the next, shooting a commercial portrait, model portfolio or covering an event. Every day is different and for that reason my job is a pleasure because each day presents new challenges.

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Thanks, John!

Induro Interview: Vincent Versace

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I have a little chat with Vincent Versace to share today. He tells us about his recent exploits, why his tripods need to be “Vinnie proof”, and about his many years of experience shooting digital.

Without further ado:

You have images from all over the world, but I’m not sure I would consider you a travel photographer- your practice is very varied. How would you define your approach to photography, and what do you like to shoot best?

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I am a photographer. I like to travel. I try as often as possible to be taken by pictures and not “take pictures.” I work this way to shoot my portraits like landscapes and my landscapes like portraits. As to what I like to shoot best? Stuff, things, people, places. I just want to be taken by the image and go for that ride.

How do you balance personal and commercial work?

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I don’t see a separation between the two. They are the same thing. My work is always personal. I try to create images that make the viewer feel as if they were standing in the same place I was when I clicked the shutter. How can that not be a personal experience? To separate them would make photography impersonal, sorta like a job, a 9 to 5 thing. Which I guess would be ok. Making it more impersonal would certainly be less hours than I put in now, which is 24/7 365 and Sundays too.

How do you choose your gear- how have your choices changed since the rise of digital?

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I have been shooting digital so long that my first camera was wood burning. I was Nikon’s very first outside digital photographic beta tester. That happened right after Al Gore and I invented the internet….. Seriously the same way I always have. What’s the best tool for the job? Not the cheapest tool that I can get by with. You are only as good as your weakest link.

What features are most important to you in a tripod? (do you have particular needs for something great for long exposures, or that can flip upside down for macro shots)- which Induro tripod do you like most?

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Strength. Light weight. Indestructibility. They need to be more than unbreakable. They need to be “Vinnie Proof” . I was in South East Asia and I actually snapped a leg on my carbon fiber tripod. I was at the Photo East Photography Convention, flew in from the gig to NYC. I walked by the Induro booth. I told the sales guy what happened he then said “watch this”– he extended the c-314 set of sticks, grabbed onto it and while hanging onto the tripod, proceeded to swing back and forth. I now have three Induro tripods.

What projects are you currently working on? Can you show us any sneak peeks?

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I am writing two books which should be out Summer of 2010: “Welcome to Oz 2.0″ and “Return to Oz”. I have several tutorial DVDs coming out. I’m planning on going back to India, Burma and Papa New Guinea in the next several months to shoot. In addition, my images have been selected as the art for the Restaurant Dovetail in New York City. Chef/owner is John Fraser, formally the Sous Chef of the French Laundry.

Do you have a trick for processes digital imagery to keep the tonality rich and film-like? I notice many of your digital images could easily pass for film. Tips are always appreciated!

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Well, digital actually has better dynamic range, sharpness, color and less noise at higher ISOs than film. The best advice is simple. Photoshop is not a verb. It’s a noun. Get it right at the point of capture. You can’t fix something in Photoshop; you can at best save it. The less you do to a file the better it looks.

Check out Vincent’s many images, books and educational materials, here.

Cameron Davidson and the Abstract Aerial.

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Cameron Davidson combines his love of flying and photography to spectacular effect, making gorgeous aerial imagery for a slew of magazines and commercial clients. I was lucky enough to interview last year; have a look and a read here.

I was perusing Davidson’s site today, looking for the usual gems, and I found an “abstract aerial” section. What a hoot! Here are some samples. We’ll start with something easy.

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getting harder…

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these two are my faves.

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Nice! Here’s a question for Mr. Davidson (this is him, btw):

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How have you been able to combine your love of flying and photography so well– was there a “eureka moment”, or did you always know this was what you wanted to do?

The love of aerials came from my first National Geographic assignment in southern Maryland. Bob Gilka, the former Director of Photography, gave me the go ahead to charter a Jet Ranger from the DC area to shoot a Great Blue Heron rookery along the Patuxent River. I fell in love with the combination of being able to shoot a graphic image that also conveyed important story information. Plus, I love to fly and there is nothing better than being in the back seat of a turbine helicopter, working as a team with a pilot you trust and creating images that show the world from a slightly different perspective.

I’ve been lucky to shoot aerials for some amazing magazines and clients. Audubon published a personal project on Mountain Top Removal last year along with giving me several assignments that featured my aerial work, Field and Stream sent me to Wyoming last year for a project on the affects of gas drilling on wildlife migration, Wired has sent me to Arizona for an all aerial story. For many years I shot stories for Smithsonian that included aerials and the Geographic has assigned me to shoot the aftermath of several natural disasters for the magazine– Hurricane Andrew, Mississippi River Flood and Western Wildfires.

Thanks!