February 12, 2017
A few days ago, a new photo friend Fred Zafran posted a link from the San Francisco Museum of Modern Art (SFMOMA) about Japanese photographers
This interview series focuses on Japanese Photography. Watch established photographers who redefined the medium after World War II and still-emerging contemporary practitioners reflect on cultural landscapes and personal truths.
As is usually the case when I am referred to broad links like this one, I only have time to explore a little at a time. Today, I clicked on the first link and was truly moved by the Diorama Map project of Sohei Nishino. Nishino creates intricate map collages of cities using small section photographs. On his website are diorama maps of 21 cities including San Francisco (his latest, I presume), Havana, and Jerusalem. The planning, perseverance, and just plain grit it takes to complete one of these projects is impressive.
Thanks to Fred for this introduction.
June 9, 2012
Many times during Jay’s workshop (again with Jay’s workshop!?) he mentioned Gregory Heisler, but it was not until today that I had a chance to study some of his images at GregoryHeisler.com. A master of the portrait he is most noted for this Time Magazine covers. He lists several portfolios on his website: QUIET, DISTINGUISHED, SIMPLE, STRANGE, VIBRANT, DYNAMIC, CONTEXTUAL, MINERS, BANJOISTS, TIME COVERS, OTHER. Now that is an eclectic grouping. I am dying to find out his relationship with Banjoists.
But do not get distracted as you work your way through the portfolios. You must make it down to the images in OTHER.
May 29, 2012
How Jay shoots:
- One camera, one lens
- Nikon D3s (full-frame)
- 28-300mm (often in the 150-300 range)
- 1600 ISO
- Bracket -1, 0, +1 (ALWAYS)
- RAW + jpeg
- Sets his in-camera jpeg settings to Vivid and highest sharpness
- Picks his best images and preferred exposure as the reference image for his assistant to match in print
- Reviews images as 12×18 inches printed in house on a big Epson printer on Epson Luster paper
- No retouching, no after capture cropping
The capabilities of today’s digital SLRs are completely incorporated into Jay’s technical approach to shooting. He shoots exclusively at ISO 1600 to keep the shutter speed high avoiding either camera motion blur or subject motion blur. On the Nikon D3s the noise is pretty imperceptible. I’m not sure that my Canon 5dMkII can quite match the D3s performance, but it is surely acceptable as I too shot at 1600 ISO for the week. He also shoots exclusively with the Nikon 28-300mm ƒ/3.5-5.6G ED VR AF-S lens and he uses the long range of the lens (150mm to 300mm) more often than the short range. He explains “he has telephoto eyes”. When you study his images, you see the pristine compositions that the narrow field of view allows him. When asked if he would shoot in B&W, he smiles and says “I see in color, even when I shot black and white film, I saw in color”.
March 4, 2012
Morro Rock Moon by I Nancy, on Flickr
Every other month I present a Digital Composition Challenge to the Thousand Oaks Photo Group. This months challenge is Using Light with the objective to have the photographers think about light and how it is contributing to the image. The challenge is to make photographs where light is a major contributor to the image’s story, mood, emotion, and purpose.
First some basics. We know that all photography is about the capture of light, but some photographs rely on strong and angular lighting to tell the story or convey the mood. Some photographs are about the light itself.
When thinking about using light, here are some questions to ask yourself:
Where is the light falling?
Why have you chosen to position the light (or position yourself to the light) at that angle?
What elements are lit?
Can you see the light? (not just the reflectance of the light)
Are there significant elements created by by shadow?
Would changing your position to the light change the story or impact?
Would increasing or decreasing the amount of light change the story or impact?
Tips for Using Light
- When outdoors – shoot during early morning or late afternoon when the low angle of the sun creates strong directional light
- Experiment with back light and side light
- Experiment with low-light situations with a small, yet, poignant use of light
- If using flash – move the flash off the camera
I always showcase images of my own and others. This month I showcased the images of the following photographers: