Vegan Photographer (fStopStudios)

7D at first touch

2011-12-27T13:46:00.000-08:00

Had the pleasure of picking up a friends Canon 7D today and snapped off a couple shots. There are a couple features that I'm envious about - namely the leveling and AF technology added, so I've been chewing on adding one as a backup body. I'm a lefty/right brainer so I often select bodies many times based on feel. With the 7d, I wasn't overly enamored with the feel and layout. Things just seemed a bit too cramped/small for my liking. As a reference, the 5d/5dmk2/d700 body is as small as I tend to go. I much prefer the D series feel and don't mind lugging one around.

Interestingly, Ive yet to read any review that felt that way, so ymmv !

Primes or Bust?

2011-12-16T22:02:00.000-08:00

I must admit being a bit of a prime lens snob over the years. I harken back to an era where any serious photographer largely ekes out a living with a 35mm or a 50mm prime. Heck, why would anyone not prefer a faster, lighter, smaller, often cheaper, sharper lens?

In recent years, I've moved off that position to perhaps a 60/40 split between primes and zooms. The stunning advancements in Nikons latest gen professional AFS zooms and Canon's latest IS L zooms are remarkably versatile and one doesn't loose much vs the primes. The Canon 70-200L f/2.8 II is a remarkable lens improving on what was a pretty darn good predecessor. Hard to imagine this trend continuing, but it will be interesting to see how current optical designs evolve in the next several years.

Studio Lights

2011-11-09T17:47:00.000-08:00

Had the pleasure of doing a fun, but brief studio shoot for some friends. Wouldn't you know it, got everything setup and ready to go... then realized the battery in the sekonik meter died without my knowing! Dialing everything in by eye and managed just fine. All these years and it was the first time I ever shot with lights and no meter!

MUSE

2010-11-16T13:58:00.000-08:00

Where has the muse in me gone ye ask? While quiet, it has been raging.

fStop 2.0

2009-05-25T09:30:00.000-07:00

Given that the bulk of my work has been outside the studio the last year, I decided to not renew the lease at Western Ave Studios. While it was a tough decision as it is a wonderful community and network of artists, I felt the time and money could be put to better uses.

The primary client facing interface for fStopStudios will be the web and the placeholder pages at www.fstopstudios.com will be revamped in the coming weeks.

To those at WAS, I will miss you all and I wish you all the very best. To those seeking to view my work and inquire about my services, contact me at marco@fstopstudios.com and stay tuned for a new web site.

Best wishes,
Marco

T '09

2009-05-15T21:21:00.001-07:00

M6 TTL, 50mm f/2 summicron, XP2

Summer Reading List

2009-05-10T07:18:00.000-07:00

All quiet on the Eastern Front. I've been taking a "less is more" approach to my photography of late and getting back in the swing of shooting more film. Personally, I enjoy the process, look, and workflow more than digital, BUT it's more of out nostalgia then anything at this point.

As Summer approaches, I have some new additions to my bookshelf that I can't wait to dig into. Here's a few:

The Bang-Bang Club: Snapshots from a Hidden War, http://www.amazon.com/Bang-Bang-Club-Snapshots-Hidden-War/dp/0465044131

Blood and Champagne: The Life and Times of Robert Capa by Kershaw, Alex, http://www.amazon.com/gp/product/0312315643

The Mind's Eye: Writings on Photography and Photographers by Cartier Bresson, http://www.amazon.com/gp/product/0893818755

Slightly Out of Focus by Robert Capa, http://www.amazon.com/gp/product/0375753966

Avedon The Sixties, http://www.amazon.com/Sixties-Richard-Avedon/dp/0679409238/ref=sr_1_1?ie=UTF8&s=books&qid=1241965760&sr=1-1

M4 CLA

2009-04-13T14:43:00.000-07:00

Sent in a newly my acquired M4 for a CLA and one will not be disappointed with Sherry Krauter's knowledge and service. While certainly not the cheapest (CLA will run ~300), this is not a dip, dunk, and ship service. She called me back after taking a look and she did indeed go over it with a fine tooth comb and with a level of detail I personally find worth the effort and cash.

Highly recommended BUT, I'm sure she already has way more work than she can handle. Turn around time is 2-3 weeks.

Contact Info:
Sherry Krauter, Golden Touch,
Campbell Hall, New York
krauter@warwick.net

Good Morning Vietnam

2009-03-18T13:10:00.000-07:00

Photo scan and restore.
Original taken 1966, Kodachrome Slide
copyright SMP

Watcher

2009-03-16T21:06:00.001-07:00

Acorn Street, Boston, MA

2009-02-28T20:05:00.000-08:00

One image resulting from a lovely day strolling around Boston with my mom...

Canon Support

2009-02-02T10:12:00.000-08:00

For all the gripes about Canon and their support team, here's how I grade my experience:

Ease: 9/10.

Comment: Online support via http://www.usa.canon.com/consumer/controller?act=SupportIndexAct is a snap.

Responsiveness: 9/10
Comment: I've called several times and have spent no more than 2-3 minutes on hold. When I have sent items in for a CLA or repairs, they are completed within a week.

Quality/Professionalism: 9.5/10
Items are shipped back FEDEX next day and packed exceptionally well. While I mostly use the service for CLAs, all service repairs have been performed as I would hope. This would be a 10/10 if they provided a little more information in the service notes detailing what they found. On my Ds3's recent visit for a CLA, this was the service note:

"Replaced washer. Adjusted exposure and AF, cleaned C-MOS, and checked all factory specs"

Overall: 9.3/10

While many gripe about Canon's lack of QC on the production line, no one has reason to gripe about support if my experiences are indicative. IMHO too much is made out of Canon's lack of QC. Not because it isn't true, but because it is pervasive across the industry whether it be nikon, canon, or fuji. I believe modern DSLR equip is in effect mandating extremely tight tolerances during production, which have yet to be implemented.

Nikon D3x

2009-01-06T16:41:00.000-08:00

Well the camera that I've been begging Nikon to make is finally so. Well done Nikon, and by all accounts thus far the D3x is a winner!

More important than the actual body is the fact that Nikon has started and continues to listen to professionals (vs focus on the consumer market). They hit a home run with the D3 and now the D3x. With regards to me, it's about 1 year late, so I'll happily continue onward with the Dsmk3 until I completely wear it out. Not that it's better, but I own it, it's paid for, and I've got a long way to go before I surpass the capabilities of either the D3x or 1Dsmk3.

For those looking at a new 20+MP FF body or entry level MF DB, they would be foolish not to consider the Nikon.

Kudos.

Fruit Practice

2009-01-03T00:23:00.000-08:00

As with most things in life, Still life and fruit stock images look easy... that is until you try them for yourself. I have a large project coming up involving fruit and decided to do a little practicing. Here's my first stab with an apple. It won't win many awards, but it isn't intended to ;)

Apple Try #1

Dsmk3, Canon 100mm Macro.
1/250, f/2.8 (raw capture)
Post: crop, level adj, sharpen.

Lighting Tenet and Elinchrom Specs

2008-12-26T22:10:00.000-08:00

When working in the studio/on location remember this basic tenet:

Shutter speed controls ambient light. Aperture determines flash exposure.

Know your equipment and your stops backward and forward. Think in terms of flash power 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, etc. For example, let's say you metered your subject at full power (1/1) @ f/16 and you wanted to shoot at f/4, then you need to cut your flash power by 4 stops, or 1/16 flash power.

meter -- flash power
f/16-- 1/1
f/11 -- 1/2
f/8 -- 1/4
f/5.6 -- 1/8
f/4 -- 1/16
f/2.8 -- 1/32
f/2 -- 1/64

Elinchrom Notes:

Monolight, Style 400BX
Power: 400w/s, 25-400 w/s range
Range: 1/1- 1/16. Note: This is 4 stops, regardless of how lighting companies market products.
Flash Duration: 1/900

Pack, Ranger Speed AS (2:1 asymmetrical power distribution A and B sockets)
100% power, 17-1100w/s
66% (A): 11.5-733w/s
33% (B): 5.7 - 366w/s
Flash Duration (S Head): 1/1250s (A only), 1/2310 (B only), 1/2250 (A when also using B)
Note: If you needs faster flash speed, the A head is 2300-5100s

Ranger Flash Settings = Output
7.5 = 1100ws
7.0 = 780ws
6.5 = 550ws
6.0 = 390ws
5.5 = 275ws
5.0 = 195ws
4.5 = 137ws
4.0 = 98ws
3.5 = 68ws
2.5 = 34ws
1.5 = 17ws

Pre-Shoot Checklist

2008-12-16T20:25:00.000-08:00

I wish I had a dollar for every time I head out for a shoot or the studio and forgot "something." Sure, it's not always a make or break item, but preparation and organization all goes into what constitutes being a professional. It also relvies the mind to focus more of creative elements rather than mundane details. Here's my current list, which is by no means exhaustive.

-- Recharge batteries the evening before
-- Check weather, directions, fuel, coffee, etc
-- Bag 1-- Camera bodies, lenses, lens hood/s,
-- Bag 2-- Pocket wizards, light meter, filters, Giotto blower, cloth, spare batteries
-- Tripod and quick release plate
-- Check that CF cards were cleaned from last shoot. Ensure enough for shoot plus spares
-- Laptop, A/C, cabling (tethered)
-- Mono lights, stands, cabling, gels/polarizer
-- Bag 3-- light modifiers including grids
-- Macbeth Color Chart and 18% gray card
-- Sandbag/s

Studio:
-- Support mechanisms, table, C-stands, clamps, gaffer tape, etc.

Dear Diary

2008-12-11T17:26:00.000-08:00

A great tool for both ideas and introspection is to keep a visual journal at all times. Perhaps it sounds corny, but forcing yourself to write about images and ideas on a daily basis provides wonderful creative energy and builds artistic discipline. Just ask any creative writer as they have probably kept a similar journal since writing101.

It's your journal, so scribble, draw jot down as much detail as possible as you look for and at images that surround us all on a daily basis. Think of the good, bad, the why, composition, etc of any visual art (doesn't have to be photographs). This will develop a sense of awareness in no time.

In summary,
-- collect images you like, think about why you like them.
-- jot down web address that you may come across that serve as inspiration
-- sketches of images when an idea comes to mind
-- critiques of images that you may come across (include the image if possible for reference)
-- lighting diagrams
-- personal reflection/thoughts
-- when you are experimenting with shots, use it to jot down shooting data including lighting and composition, your impressions, modifications, etc...

Really, anything goes-- have fun with it!

Dizzying Speed of Technology

2008-12-05T18:59:00.001-08:00

It wasn't too long ago (prior to this year) that we could pretty much count on a 2-3 year product lifecycle in terms of camera bodies and lenses had a lifespan measured in decades. While technopeeps celebrate the constant upgrade churn only to spurn the products/specs upon release (thereby creating perpetual new product demand), one must ask what the cost is? What does it do to the R&D and production costs for companies? What does it do to what was once a relatively predicable used market? What does it do to individuals attention deficit disorder condition?

People are quick to proclaim the customer is the winner, but I would argue the contrary. The shortened lifespan of technology and products cost huge sums of money to produce and the investment has a much short time to provide the ROI. The only way the market is sustainable is by trying to maintain margin while growing unit sales via propaganda promoting consumerism. People will upgrade more frequently and lose more money on their existing equip sales. Yes, a generalization, but a generalization that holds true thus far. Wait-- the consumer won because of xyz new feature right?

The purpose of photography is to create photographs. Everything else is noise. I challenge anyone out there to demonstrate that buying any particular camera (i.e. upgrade) improved their photography in terms of the end product one iota. Any no, pixel peeping @ 1600ISO with a Canon 5d 3 years ago to a D700 or D3 today doesn't even register on the radar. Well unless your trying to justify the annual upgrade!

My point is not that one should be dismissive of the technology advances, but rather spend a much larger proportion of time practicing their craft vs. trying to keep ahead of the technology curve. Use your gear until it stops functioning in terms of the intended role. Yes, a novel idea of matching the photographic NEED with the tool, not practicing tool lust in the hope to create the need (assuming one exists at all).

Critiques

2008-11-23T15:54:00.000-08:00

Learning to look critically at art, regardless of whether it is your cup of tea or not, is a wonderful way to learn about our craft! All to often, what people think of as a critique says little about the art and everything about the individual making the comment. Saying that a piece of art is nice, great, bad, terrible or anything in-between contributes nothing in terms of information let alone a critique.

The Kennedy Center offers a clear and concise outline that covers varying aspects of critiques-- bon appetite.

Art Critique How-To

Eye

2008-11-22T21:18:00.000-08:00

The Mac is Back

2008-10-26T15:11:00.000-07:00

And no-- not McCain!

My ole G4 powerbook finally started falling apart at the seams (the hinge that holds the monitor) and thus I decided to up pick up a new Mac. As a user of both PC and Macs, in terms of a portable studio/laptop environment it is either Mac or bust for me. After some deliberation, I picked up the new Macbook Pro 15", although I did give the older gen some thought as on-line retailers are clearing them out this week with a nice rebate and don't forget the matte screen, which does indeed appear to be a thing of the past.

After 1 day with the new mac, here's my thoughts....

* wonderful build and speed. I settled for the 2k model (2.4ghz, 2GB RAM, etc). It's working great and highly recommend saving your 500 bones.

* glossy screen will take some getting used to. I like the high contrast and pop, but reflections in public places or when outside can be annoying. For studio work it is a non-factor.

* sound and video work superb, battery life reasonable. While I haven't timed the battery, it's on-par with what I would expect for this size

* Many on-line reviews had minor gripes with the newly designed pad, I find it perfect!

* With regards to price, you can head over to newegg and pick up the memory and save 50%. The bump up from 2.4 to 2.53mhz while something, is pretty much a non-factor, and the bump up from 256 to 512mb of video ram is a healthy increase, but of primary interest to gamers. Photoshop, writing, web work doesn't benefit from the increase.

Thought for the day

2008-10-01T21:01:00.000-07:00

Anything that doesn't make your composition better, makes it worse.

Sales/Marketing-- Part 3

2008-09-30T17:06:00.000-07:00

Tip #1 People seem to be drawn to big and colorful. I say "seem to" as we need to dismiss what we may think of as photographers as pretentious, and acknowledge this. SO-- a way to get traffic in an open studio or art fair is to use big and bold as the draw. More obviously, this helps people afar be drawn to your display. Once inside of course, make sure you cover the gamut in terms of sizes/prices as not everyone's wallet (or wall) is sized the same.

Tip #2: Find local gallery or venues to exhibit your work. Don't worry about the 20-30% overhead they may charge, it is a great way to get more views and hence sales. These sales will also be part of the building of a clientele list and they may be coming back for more. Painters should have both original and giclees of select work to cover the gamut of affordability.

Tip #3, Sales is a numbers game. A percentage of people will buy your product. The more people, the more sales. Relatively speaking, making the image is the easy part *I did say relatively!* Marketing is what will make or break you long-term. There are many talented artists out there scrounging for dollars either due to lack of effort or knowledge. On the other hand, there are many successful mediocre ones because they are good at creating buzz and attracting buyers.

Sales/Marketing Part Deuce

2008-09-24T05:38:00.000-07:00

In the last post, I set the foundation for setting the goal of increased sales either in studio or on-location (e.g., Art Shows). The strategy needs to address several fronts.

1. Vision and Planning

This is a cognitive exercise that asks/answers who is our market?, what is the typical price point of this market? Where is our market located? I believe that while one may not have sales because of quality and/or price, more often than not if is due to attending the wrong show. When you do go, what items are selling like hotcakes? How do you market yourself? Print up some postcards and promote yourself and the show/s at every opportunity.

2. Appearance and display equipment

How do you want to present your business and self? The options (and costs) are far ranging so think about your budget. Also, you need to set-up and tear-down the equipment with relative ease, so keep this in mind or else you shall regret it. At the very least a 10X10 white canopy tent will be required like those found at http://www.ezup.com/. Other options includes a table/s, note card rack, chairs, empty boxes, bubble wrap, credit processing equip. Last, but not least is SIGNAGE. This is an area I personally am woefully lacking. Signage includes information about the company, pricing, and a main sign to help draw them in.

3. Cost. How do you price the items? Rather than pull your hair out checking every one's price, a simple rule of thumb is to charge cost * 3 or 4x. So if a framed photograph costs $70 for the frame, mat, printing, wrap, etc I would put a price tag of $210 or $280 on it. If you can't make 3X cost (on a sale), then consider the time, expense, and effort a donation rather than a selling event (no thanks-- I would rather be out creating art). Another consideration in terms of pricing is to cover a range of price points. For example offer notecards, postcards, unframed work, framed, and larger work. Hopefully, the larger unit sales of the smaller items help defray the costs while you focus on selling the larger ticket items.

4. Last, but not least. Bring some energy and focus to the show. Remember, your there to SELL your items, not gossip, read, daydream, go for walks, etc. Not everyone has the gift of gab, but work on this area. Make contact with everyone/greet people, ask questions, learn to read their body language, etc. I'm as guilty as anyone in that on a somewhat slow day, I usually open a book... Resist this temptation or else it's time to pack up for the day.

The list and ideas above take time to evolve. In the last show, I added some notecards, unframed work, and a small display table. In terms of things I will address in upcoming shows are signage, post card promotions, show selection modification, and build stock of lower priced items.

One of the main take-aways from the last show is to request/ask for a tent location that is in the shade! Oh yea, and regardless of how you do, enjoy the day and keep a positive attitude.

Goals

2008-09-11T22:17:00.001-07:00

As artists, or anyone for that matter, we need to set specific goals-- both short and long term. While this sounds cliche, I guarantee that the without it, our time and growth is stymied and opportunity is squandered.

I'm just as guilty of this as anyone. Running around, reactive, time challenged, and letting other demands encroach on my time for creation. So what are my goals?

I'll be reducing portrait related work and focusing on print sales, printing, and marketing. While I have made a half hearted attempt at print sales, I haven't been very rigorous or focused on it thus far or the success in pursuit thereof.

If you go to Art shows to pawn your wares, you may find yourself in the same boat as me...It's a beautiful Saturday afternoon and you're showing (or selling!) your work at the local show. You set the alarm and wake up early so you can set up your screens/booth and hang all your prized work. You are meticulous and ensure every work is perfectly straight, clean, and ready to leap into the homes of all the potential buyers... they are perfect. Some people come and like your work. They smile and say, "Wonderful Photography!" Others (many) just plod on by as if they have somewhere else to visit. You look to the left and right scratching your head and you see other people selling items (some) and think to yourself that your work is far superior-- blasphemy!

What's missing? Well, are we showing out art or selling? Big difference between these verbs and what is required. One is passive and the other is active. In short, we need to hone our Sales-man/woman-ship skills.

Given that my next trial is in a week or so, these tips will be my upcoming strategy. I make no guarantees to whether or not they will be effective. As my employer tells me, sales effectiveness isn't measured in effort, it's about revenue.

Game Plan

TBD!

Canon IPF5100

2008-09-05T19:59:00.000-07:00

I picked up a Canon IPF5100 earlier this week and it arrived today. The package is apprx 160lbs and comes on a pallet. Unpacking it was a snap and even the most mechanically challenged of us (moi) had no trouble at all assembling the print heads, ink trays, roll assembly, etc. Directions were right on and easy to follow.

Why the Canon 5100?

1. On par with the Epson 4880 on side-by-side prints.
2. Faster and much more economical in terms of inks
3. 17" is a good size for what I typically print (16X20s and 12X36)
4. Price was right! It comes with approx $700 in ink, making it cheaper than cheaper consumer 13" printers.

I have run off just a couple test prints, so I have a bit of experimenting to do at this point. My initial prints looked great, albeit a touch warmer than my calibrated on-screen proof. More to come!

Special Places and People

2008-09-05T19:52:00.000-07:00

We all have places that hearken back to times past. Here's a few images of mine.

Godspeed.

Giclee Protectant

2008-08-18T19:34:00.000-07:00

When printing on canvas or printing giclees, there is a rather large amount of trial and error when selecting a lacquer/finished/protectant spray or roll-on in terms of quality, look, and and ease of use. While I have by no means been exhaustive in my testing and sampling, one of the best that I've come across thus far is ClearShield Semi Gloss Water Based Coating.

It rolls on with ease and looks great-- and most importantly not overbearing at all.

ClearShield is for use with water resistant media, use Clearjet with water sensitive media.

Maker of ClearShield and product info. If you want to try it, follow the "search for a distributor" on the homepage.

I would love to hear about your experiences and/or recommendations, so drop my a line at marco@fstopstudios.com and let me know.

thanks!

Framing and Mat Board links

2008-08-16T08:49:00.000-07:00

I'm the sort of person who would much rather spend my time behind the viewfinder rather than fussing with cutting my own mat board. As I come across/try out more places I'll add to the list, but these two are reasonably priced and serve most needs.

Redimat Precut Mats

American Frame

West Charlton

Frame Destination

Maine

2008-08-02T06:01:00.000-07:00

I took a couple days off and heading up to Casco Bay, Maine with the 1Dsmk3. South Freeport and the islands of Casco Bay is a magical place and where many of my childhood dreams were forged. The landscape, people, and air combine perfectly to restore even the weariest of souls.

On the 1Dsmk3, I primarily used the 35L and 70-200L. While I've always had a hankering towards fast primes, my old 24-105L would of been the most used lens on the trip if I had it. I would say that the camera took whatever I doled out with ease, but that goes without saying.

1Ds MarkIII, 70-200L @ 70mm f/8

Inspiration and Wisdom

2008-07-25T22:03:00.000-07:00

I've been listening to Brooks Jensen's podcasts for a couple years now and wait (impatiently) for each new podcast. Brook's podcast are all relatively short (3-5min), but the advice and words are both poetic and deep, provoking one to think and be introspective about their work and art in general. i highly encourage everyone to check them out. Just open iTunes and do a search for Lenswork or point you're browser to lenswork.com/podcast.xml and subscribe.

For me, I'll wait patiently and give Brooks a hearty THANKS for his weekly inspiration.

Bon Appetite!

Art Shows...

2008-07-20T07:29:00.000-07:00

Summer is a time usually focused on nature related shooting and local art shows. I'm not sure how many photographers are participating in local art shows, but they are a wonderful way to gain some exposure/views in real-life (as opposed to the virtual sort) and offer the potential for generating sales. As a general observation, sales don't come easy for any artist. Over the last year, I've also notived a big slow down in terms of traffic and sales are down across the board. The main shows that I attend in New England are coming up in late July-Sept, so I will be interested to compare. Is it the economy, gas prices, etc? Regardless of the causal factors, it means we as artists have the be deliberate and step up marketing efforts.

For those curious, I stock fairly standard sizes: 8X10 matted and framed in 11X14, and 11X14 framed and matted in 16X20. All in white rag and Bainbridge metal frames. I print out the title and price on business card and place beside the image. I personally don't sign and number any prints on the front of the matte, as I believe it's nothing more than an attempt to market/create value by being pretentious.

35L in the studio

2008-06-22T10:57:00.001-07:00

The 35L is one of the most versatile lenses in my pouch. I love it for indoor use both natural and studio lighting apply ;)

MPE-65 1-5x Macro Fun

2008-06-16T19:00:00.001-07:00

This lens is truly one of a kind in terms of close up shooting. While it is probably one of the hardest lens to use, the results can be truly stunning for the patient.

To test the lens out this evening, I grabbed a little critter from my Mom's ceiling and did a quick portrait... This was apprx at 2x.

1DsmkIII Week 1 wrap

2008-06-13T20:56:00.000-07:00

While my play time with the new Canon arrival was somewhat limited this week, I did get to test out several features and lenses. Very impressive body in nearly all respects. To be honest, the only thing that comes to mind in terms of a major recommended change would be the anti alias filter (AA filter). It is damn strong. Not sure about the rationale behind that, but I'll trust that Canon engineers have one...

* Batteries are awesome. I love the fact that I can shoot all day long (and I mean ALL) and my battery hasn't croaked yet!

* While Live View is not as dandy as Nikon's (N has AF and a much better LCD screen), it works just fine for how I use it (I would use manual focus even if it offered AF). This feature rocks for macro fine focus adjustments. The Canon allows a zoom of 10x with Live View.

* Microadjustments... AF w/ many canon lenses is a bit off and is frustrating/a pain in the ass to deal with. Microadjust (each tick/value represents 1/8") is one way around it, but I've had varying degrees of luck as values vary based on distance, fstop, focal length (in the case of zooms), and of course focus point. While not a shooter of brick walls usually, shooting at f/1.2 requires AF to be dead on!

* Sharpness. When peering at raw files at 100%, they can appear a bit on the soft side due to the aforementioned AA filter. Filter aside, the files take a great deal of sharpening. As always, I shoot RAW and DON't apply any in-camera anything, especially sharpening. I prefer to have 100% control over every image, but YMMV depending on your personal preferences and style. My typically USM setting in PS for the 1DsmkIII is 250,.3,1. As always, I apply this once I complete the resizing and retouching of the image.

* Lenses. I pretty much stick to primes, but after using the Nikon 14-24 and 24-70, tis a shame (and a wonder) that Canon can't come close. My kit for this body is the 16-35mkII (so-so), 50L (I shoot @ 50mm a lot), 85L (!), 135L (!), 70-200L (decent for a zoom). Around 80% of my shooting takes places between 35mm -- 85mm. I won't be re-adding the 24-105/24-70 and 300 f/2.8. Canon mid zooms aren't my cup of tea and while I love the hefty 300 f/2.8 (SHARP!), I'm saving my coin for a 400f/2.8 :)

*Dust. Never really had an issue with dust on my 5D (once I got a clean one out of the box) and the 1DsmkIII is dust free thus far. It employs dust removal as well, which can only help matters in this dept. Still not sure why Nikon didn't add the feature to the D3???

* Cards. I have a stickie reminder to go buy a couple large SD cards :)! It would be too easy if Canon stuck in 2 CF slots, but no...

Birthday Girl

2008-06-13T20:51:00.000-07:00

1DsmkIII, 50L

The Big Boss turns 6 in 4 minutes (EST).

Happy Birthday!

Initial Impressions/Thoughts 1Dsmk3

2008-06-06T20:54:00.000-07:00

Well my 1Dsmk3 arrived safe and sound last week. The box was well packed with all the usual goodies. The camera was purchased through Amazon and arrived next day. Decent deal and personally I have no patience for Dell...

Having just used the Nikon D3, the 1Dsmk3, felt a little lacking in terms of the ergonomics and user interface. Admittedly, this is more to do with my hands being wrapped around a Nikon for the last year, but nevertheless the Nikons still take the cake for better layout. Also the LCD, while improved over my old 5D, trails the new gen Nikon screens. While mostly trivial, it does loom large for those using live view and depend on image review (e.g., chimping).

For test lenses, I am using the 16-35L (II) and the 50f/1.2L. I typically shoot in the 35-50MM range. I am in the process of comparing images, but thus far the Nikon 14-24 kicks the 16-35L's *&%*$ in terms of contrast and sharpness by a few orders of magnitude. Not even close. I also compared a cheap Nikon 50f/1.4 with the Canon 50L. These two were both sharp, but the Nikon 50f/1.4 still came out on top in terms of sharpness.

My snap C vs N flagship summary:
Ergos: Nikon, but both are fantastic
Lenses: (wide zoom and 50mm): Nikon
Live view: big advantage w/ Nikon
Cost: Nikon
MP: Canon, file size is why folks get this body (including myself!)
Battery: Both darn good.
Dust removal: Canon
Cards: Nikon (I prefer two CF slots)
While balance: Nikon
Build Quality: Draw, both are superb.
Software: Canon

Keep in mind, this is my first reaction to the 1Dsmk3, thus I've plenty of fiddling around and experimenting before I cement some of my opinions. I've received a couple emails regarding metering and AF performance. I shoot one shot at a time and don't really stress out predictive AF by any stretch. The 1Dsmk3 (as well as the D3) focus in a heartbeat and instill confidence when in hand. In terms of metering I find Canon to be around 1/2 stop under the Nikons.

Parrot Digigraphic

2008-05-23T15:01:00.000-07:00

Whilst anyone with camera and printer likes to think of them self as a high end printing shop, the fact of the matter is that high end reproduction and printing companies are few and far between... very few. I had the pleasure of stopping in over at Parrot Digigraph in Billerica, MA (on 3a). WOW-- wonderful equip on hand including Betterlight outfits, Cruse Scanner, and a plethora of high end printers (I was looking at the 44" HP Z3100). MORE important than the equip was that the staff was very knowledgeable and passionate about the equipment and art reproduction.

Impressive enough that I scheduled a demo with the betterlight outfit they have on on hand and the HP Z3100 for next week. Needless to say, I'm geeked up over it!

Update: Demo was fantastic (Randy is quite an asset). The organization and diversity of offerings on hand was great. On the negative side, it was wayyyy overweighted with sales including trying to toss everything except the kitchen sink into the mix.

Chengdu

2008-05-19T21:16:00.000-07:00

My home away from home and the source of many of my images is Chengdu, Sichuan Province, China. This is the home of wonderful scenery, delicious food!, and warm and friendly people. Unfortunately is also lays claim to one of the worst earthquakes in recent history (a 7.9 magnitude). Tens of thousands are dead, and millions are homeless and struggling for survival right now. Give some thought to helping out relief efforts.

CNN Coverage and Video

Red Cross

I am also doing my small part by contributing ALL profits from print (those taken in Chengdu) sales to the Red Cross. Here's a sample containing 4 separate images:

Individual prints can be ordered in either 8*10 ($50) or 11*14 ($85) and all profits will be donated to the Red Cross. If you would like to order, please contact me at marco@fstopstudios.com. Paypal is accepted.

Mat Board

2008-05-19T20:29:00.000-07:00

Cotton vs. Paper

Mat board is generally composed of either Paper (less expensive and not good) or Cotton (little more $, but the best).

While paper comes in a broad selection of colors and textures and is about half the price of cotton matting, it is also naturally acidic and will eventually discolor an artwork. This despite technology and marketing statements regarding removal of acids and the development of "acid-free" paper. Cotton is inert and will never develop acids. While it may come in fewer color choices, there is no better choice for use with prints. At fStopStudios, we exclusively use Bainbridge 100% cotton ("rag") mats.

Matting "layers" refer to the number of mat boards between the print and the front glass. An artwork can have single, double, or triple matting. The additional/multiple are largely decorative on smaller prints (e.g., 8*10, 11*14). For larger prints (16x20 and larger) double matting becomes more important as it helps provide further separation between the print and the glass.

Offset matting offers more mat space at the bottom of the artwork and less mat space near the top. This is pleasing from an aesthetic standpoint, especially when artwork is viewed at eye-level.

If you go to a Museum and photography exhibitions, you will find nearly all white mats with black frames. Creativity is best left for the image creation and not gawdy frame and mat selection. The purpose of the mat and frame is to display and protect the image without distracting the viewer.

Tulip Abstract

2008-05-11T11:23:00.001-07:00

Winsor Lane Tulip
d300, Nikon 100mm VR Micro

D3, Zenfolio, and More

2008-05-03T18:03:00.000-07:00

I have been a tad on the quiet side of late. Not for lack of activity, but just the opposite. Things have been crazy schedule wise. I did manage to get my taxes in on time though!

Couple updates at fStopStudios:

* Picked up a D3 in the studio and it is lovely in terms of build, feel, and high ISO. Personally, I rarely shoot over 200ISO and even though I wish differently, I can't tell the difference in IQ between the D300 and D3. However, what separates a pro body from a pro-consumer one build quality and dependability. The D3 in a winner in nearly all respects-- however it should be what I think is the sweet spot for FF-- 16MP.

Here's one of my first shots with the D3 w/Nikon 50mm f/1.4)

* I have been using iPower for my web hosting. However, Gallery performance sucks since they did the upgrade and the service I received left a LOT to be desired. Therefore, I have removed most of the content and made the decision to forego renewing www.fstopstudios.com. I will be focusing my web efforts between this blog and my new Zenfolio gallery for image hosting.

* I'll be adding a wide format printer to the fold in the coming weeks. Looking forward to it and will be glad to forgo online printing services.

* Also Looking forward to seeing what Canon releases with the 5Dmk2, for which we should be the specs soon. The 1Dsmk3 looks like a winner also.

Dodge and Burn

2008-04-10T05:10:00.000-07:00

An alternative to the dodge/burn tool in photoshop is the following non-destructive method:

1. Create a New Layer
2. Set mode to Overlay
3. Edit>Fill to open the fill dialog box and fill with 50% gray
4. Paint on that layer in white where you want to Dodge and black where you want to burn

Be subtle. Set the brush opacity and flow low, slowly build up the effect, and adjust opacity.

Experiment!

RIP Dith Pran

2008-04-02T09:16:00.000-07:00

If you haven't seen the 1984 movie "Killing Fields"-- rent it now.

There's a lot of obits out there, but I would rather remember a photographer by their images. Dith lived a life and saw far more misery than many of us could imagine. Yet, his spirit, love of life, and warmth never abandoned him.

Dith Pran, RIP.

http://www.nytimes.com/slideshow/2008/03/31/nyregion/20080331_DITH_index.html

Studio Yoga

2008-04-01T21:15:00.000-07:00

A talented and beautiful model graced my studio last week. She came up with a great theme for the shoot, yoga. Wonderful job Alyssa.

Critical, Critique, or just plain ole Nonsense?

2008-03-30T21:10:00.000-07:00

Modern day photographers often dismiss traditional/formal study of the craft in a university setting. While it may not guarantee future success, one does at the very least learn how to view and respond to another artist’s works, ala a critique, in a civil and respectful manner.

In 2008, many lively forums exist on the web and I'm continually disappointed to see "artists" (I'll give them the benefit of the doubt) behave like infants and belittle the work of others. Sure, not everything posted is "good", but the point is that the person is having fun and trying to LEARN from others. What they usually get is some smart ass, smug, and dismissive remarks... usually from people whose portfolio looks like crapola. Hell, even when good work is posted, there are legions of robots that point to this and that technical minutiae as flaws rather than comment on the image itself.

My recommendations are as follows:
1. Regardless of your ability, think of the person on the other side of the screen and where they are in terms of skill level.
2. If you’re going to give advice, give it in a way that helps the person. Yes, POSITIVE criticism. What do you like? why? what don't you like? why? what would you like to see/try different? Examples? Stop with the "great work", "snapshot", or “terrible” comments.
3. If your posting images on-line, have a thick skin and take comments (good and bad) with a grain of salt.
4. Photography is about the images, not technical specs of new equip. Have a vision and pursue it with vigor.
5. If someone posts an image-- do NOT download and retouch it as an example unless you have the owners’ permission. Just because they post an image for display does not mean they are granting you usage rights to alter the image.
6. If you’re going to criticize something, be accurate. One buffoon online recently criticized one of my photos saying I blurred/smoothed hair and to get it right... umm sorry Mr Pro, no blur/softening applied to the raw image. Credibility of these kinds of folks ---> zero.
7. For a good laugh read this blog entry:
http://theonlinephotographer.blogspot.com/2006/06/great-photographers-on-internet.html

Gerbera

2008-03-12T19:52:00.000-07:00

D300, 17-55f/2.8, ISO 200, RAW

Handheld @ 1/15, f/8

New Studio

2008-03-09T19:51:00.000-07:00

Shame of me for not taking a "before image", but thanks to my dad's hard work, I must say, the floors look awesome. Esp. considering they were old textile factory wood floors with 1-2 inches of tar and crud layered on after years of abuse and carpeting.

All in all, it's pretty remarkable how one can restore floors in two days.

Process:
rent medium sander at home depot, get a few packs of each sandpaper made for the machine. All told, I spent $60 on the sander and $70 on the pads.

Scrape up all the major gunk, Sand away

one coat of stain, 4 coats water-based poly (about 30 minutes between coats). Let dry overnight...

voila!

Studio apprx: 16'Wx22'Lx16'H

News (or lack thereof) 3.8.08

2008-03-08T19:18:00.001-08:00

Not many posts of late as I have moved into a new studio space and it needed quite a bit of work. For those that have been the my studio before, this one is on the same floor, but right near the elevator :)! Much, Much, Much better when toting full camera gear and my ranger kit/s :)

Well after a couple weeks of scraping, sanding, buffing, staining, painting, and moving-- I completed the move-in tonight and will celebrate the event with a studio session tomorrow.

In other news, I'll picked up a Nikon 17-55 f/2.8 in exc condition and will be testing that vs. both the 14-24 f/2.8 and 50f/1.4 (at f/2.8 of course). While it may be hard to believe, I've never bought a "digital" lens until now as I typically switch from digital-->film and vice versa often. I'll let you know how it goes along with some examples with the Elinchrom Ring flash.

On-line Printing

2008-02-15T17:17:00.000-08:00

A lot of folks use White House Custom Color http://www.whcc.com/ (they do a fine job), but I like to go explore some lesser known on-line entities that offer up great prices for prints. I made previous mention a while back of http://www.power-graphics.com/ and stated they did a decent job. However, they proved to be somewhat inconsistent from print to print in terms of color fidelity.

The clear winner thus far in terms of professional quality at bargain basement prices is El-Co Color Labs, Inc http://www.elcocolor.com/

They get fstop's seal of approval!

If you know of or are a large format shop and offer a variety of canvas and paper stock-- let me know. I would be glad to review your work.

-fstop

Streets of San Francisco

2008-02-11T20:59:00.001-08:00

San Francisco, 1.30.08
Nikon D300, 14-24mm f/2.8

Elinchrom Ring Light (RX 1500)

2008-02-11T20:20:00.000-08:00

The new ring arrived safe and sound. This post will evolve into an eventual product review, as I will add to it slowly over the next month as I break it in.

Intro: I bought mine here:

http://www.bhphotovideo.com/c/product/372861-REG/Elinchrom_20493_Ranger_RX_1500_Ringflash.html

First thoughts. Another packing job by Elinchrom that leaves me scratching my head. Elinchrom sells an expensive light, not to mention marking up a Hensel Porty Ring Light (essentially the same light) by $300USD or so and it arrives (safe and sound), but in a cardboard box sandwiched between two sheets of plastic. No warranty card, no owners manual, bubble wrap, or carrying bag. While I really love Elinchrom's products in terms of quality, they seem to have no one employed in the realm of packing/shipping/technical writing.

SPECS:
cost: 1350 or so USD
weight: about 4 pounds
Max w/s: 1500
cable length: 2'
Flash Duration 1/2600 @ full power.

Since an owners manual was nowhere to be found with the product or on Elinchrom's site, I downloaded a Hensel Porty Manual for a little background info:

http://www.henselusa.com/content/ringflash_manual.pdf

Thank you Hensel.

Basic functions and Use: Coming soon....

Model Tips and Info

2008-01-20T19:51:00.000-08:00

Before the shoot
· Scan fashion magazines or mags in the genre we are shooting for posing ideas and practices.
· Exfoliate your body to remove dead, scaly skin, and apply moisturizer.

NOTE: I work best when a model develops her own flow with regards to posing and bringing out her own personality. While I modify and give suggestions and modify poses along the way, models should have given thought and practiced a fair number of poses for the intended content. Your welcome to bring sample images and references with you.

What to bring and tips
· Any clothes, shoes or accessories your asked to bring (depends on theme). Clothes should be clean and ironed.
· Wear loose-fitting clothing to prevent any marks and impressions on your body
· Do not wear a bra to the shoot -- you can change into one there if you need one for the photo.
· Wear a clear deodorant to prevent white marks on the clothes.
· Some like to bring a changing robe.

Hair:
· pig tails, headband
· brushes/combs
· curling iron if needed
· gel, creams, etc
· hats depending on theme

Face:
· moisturizer
· make-up kit
· cotton balls and cotton swabs
· mirror
· lip gloss and Vaseline

Clothing:
· different colors of nylons · flesh toned, black, or white G-string and bra
· assortment of bras including push-up. Try to find non-padded ones.
· plain black and white socks
· depending on theme, lingerie, thigh highs (white and/or black).

Shoes:
· an assortment of boots, shoes, and flats.

TFI/CD (trade for images/CD)
· Sessions typically last 2-3 hours.
· I do not provide wardrobe or a MUA unless otherwise stated.
· Models will receive 5-8 retouched images for their WWW port as part of the TFCD session.
· I do not give out CDs of raw images.
· All models must sign a release and have proof of age (over 18 required).
· No guests/friends allowed in the studio.

D300, 14-24f/2.8 Samples

2008-01-14T10:50:00.000-08:00

I was in San Francisco last weekend and captured these just south of the city.

D300, Nikkor 14-24
Post: crop, levels, curves, desat yellow, sharpen, save for web.

US Copyright Law for Visual Arts

2008-01-03T14:40:00.000-08:00

Copyright law seems to be one of the most misunderstood topics amongst artists. Everyone seems to have a notion of what is legal and what isn't, but few folks seem to have actually read the actual copyright law or consulted with an attorney.

If you consider yourself an artist and value your "art", then make the effort to learn about protecting your work and ideas. It's not overly complicated, but speaking with an attorney may be in order depending on your situation.

There is a link to the US Copyright Office Circular 40 on the right in the links. Key tenets include:

1. Copyright Protection Is Automatic

Since 1978, work is automatically protected by copyright law when it is created (i.e. via a shutter click or a brush). Neither registration in the Copyright Office nor publication is required for copyright protection under the present law. Protection has NOTHING to do with plastering your logo or © all over images. These MAY serve to make it harder for someone to re-use your image and claiming them as their own, but your best protection for that is to limit on-line posting to small resolution/low quality samples.

2. Registering a Copyright

Benefits include establishment of a public record of the copyright claim. While you are protected prior to registering, you must register the Copyright before an infringement law suit may be brought.

3. Releases and Contracts

3. If you’re working with models/people, you should draft a Release and Usage Rights Contract. Legally speaking, releases are only required for commercial use, but it is a good practice to use them for all models. Usage rights is a separate clause or contract that spells out the terms of the images you are releasing. For example, one of the items in the usage rights contract explicitly states that ALL further edits and/or retouching is strictly prohibited.

Crowded Studio!

2007-12-25T07:41:00.000-08:00

The one and only-- fstop studios!

Ho Ho Ho!

2007-12-24T21:53:00.000-08:00

Happy holidays to all! It's been a wonderful year for me photography wise and I hope to build upon it in 2008! I wish all the photographers the same regardless of experience or skill level. Just keep shooting, learning, and experimenting!

Misc news and stuff
--thrilled with the d300. I've shot giclees, landscape, and studios sessions/models with it and it is indeed a wonderful body and versatile!

-- for canvas prints, I tried out Power Graphics. While not the fastest company to respond to email, they had excellent prices and did a fantastic job printing on canvas rolls. I personally like the Artist Canvas 20 mil with the glossy finish-- highly recommended!

-- Received my Elinchrom BX400 kit with cases and stands. WOW-- if anyone thinks Alien Bee kits are the only value in town-- this kit receives my top billing (BY FAR!). While I wasn't thrilled with the packing of the Ranger kit, the BX kit comes with super soft cases and was superbly packed!

-- Jeans theme shoot is commencing. Models-- feel free to ping me (i.e. email me) if your interested in shooting.

-- Thanks to all the on-line communities/people. There's many talented folks that don't mind sharing their work and knowledge-- I highly recommend networking! Fred Miranda forums, Photo.net, Modelmayhem, One Model Place, Nikonians, DPreview, etc!

MNF Photography

2007-12-18T08:23:00.000-08:00

So what does one do watching the bears and vikings on MNF (YAWN)? Set up a little macro, blacklight experimentation on my coffee table of course.

Simple setup:
-camera reversed on tripod pointing down
-no ambient light
-two black light tubes laying alongside object
-small dish with oil
- lock in focus with ambient light, live view and set for the focal plane at 1:1, shut off light
- fluorescent paints

Ohh the game did have some drama afterall-- Yo Adrian!

Here's one of my samples from the game:

D300, Nikkor 105 f/2.8 VR,
1/60 @ f4.

D300 Color Calibration

2007-12-17T12:49:00.000-08:00

When I get a new camera, I calibrate both the color and AF. For most photography, color is far from accurate and is suited based on what the intent of the artist. However, color calibration is critical for particular kinds of photography and can be a time consuming affair to say the least. Colors are skewed by light source, time of day, lens, and camera body. In order to calibrate, shoot a test target like Macbeth and match/calibrate the test image with the digital image captured. This can be accomplished manually or with a program/CS script.

Macbeth target, 1PM, diffuse daylight/indoor, 50mm nikkor, D300 calibration:

Basic screen:
temp: 4850
tint: +7
exposure: +.15
brightness: +40
contrast: +31
everything else 0'ed out

Tone Curve Screen:
Linear

Sharpening Screen:
Sharpening: at 0
NR: defaults

Color Calibration:
tint: -1

red hue:-16
red sat:+49

Green hue:-22
green sat:-13

Bue hue:+14
blue sat:-10

Keep in mind your MONITOR needs to be calibrated as well!

good luck,
-fstop

Lightroom Sharpening with ease

2007-12-17T02:03:00.000-08:00

Lightroom is an amazing tool (and reasonably priced!). Sharpening in Adobe Lightroom is done in the Develop Module, under "detail"

-- Open Image, zoom in to 100%

-- Amount: the slider goes all the way to 150%. Start by just sliding (slowly) the slider from 0-150 and look at the results. When you start seeing halos, stop and pull it back a little. Typically, I use sharpen amounts of around 50-60% for people pics and a higher value for non-people.

-- Radius: I usually leave at 1

--Detail: This is a fantastic tool that adds a great deal of flexibility to your sharpening. It basically tells lightroom where to look fo sharpening areas based on the underlying edge contrast. Again, experiment by sliding the control throughout the range... I typically use a value of (20-30) for people type images, and higher value for other images (30-50).

Masking: Another incredibly easy tool to use (vs. photoshop). This tool basically masks out or hides areas from applying sharpening. If you hold down the ALT or OPTION key, sharpening is applied to all areas in white. Using the masking slider, a value of 0 applies sharpening to the entire image, whereas a value of 100 applies effect to a small % of the image. For people images, I use higher values in order to preserve skin texture (around a value of 70-80).

Photoshop Sharpening with ease

2007-12-17T01:40:00.000-08:00

When you reduce an image's size or import it from a digital camera, it usually needs some sharpening—the amount depends on the output method for the image. One of the most common things I see online (or off) is that sharpening seems to befuddle many people (either too much or too little). That is too bad, especially given that it is so simple. I suspect part of the reason is that "recipes" don't exist-- the photographer needs to use match the image with their mind's eye.

While I don't have a magic pill to solve all your needs, here is how I sharpen images.

Method 1: High Pass Sharpening

-- Duplicate the Background layer by typing Control-J (PC)
-- Set the Blending Mode of the copy layer to Overlay
-- With the copy layer selected, select Other>High Pass filter. Start with a low value moving the slider until edges in the image show. It should be around a value of 5 or so.
-- Flatten image and Save.

Method 2: USM/Luminosity

-- Choose Filter>Sharpen>Unsharp Mask
-- I usually apply a starting point of 100%, .6, 1, but you need to apply the settings that you want/look right for the image.
-- Select Edit>Fade Unsharp Mask, and alter the Blend Mode to Luminosity. You can also reduce the amount of the sharpening at the same time if you feel that you've applied too much.

-fstop

Boston from the Longfellow

2007-12-05T18:28:00.000-08:00

D300 w/ Nikkor 14-24 f/2.8
Created: 12/05/07

D300 Has landed

2007-11-28T10:05:00.000-08:00

Arrived from B&H last night! I haven't had time to shoot with it yet, but did give it a look over. First impressions are that it feels great, LCD is the best I've seen thus far, and after a year hiatus with Canon (5d) and Fuji (S5)-- it's nice to return to the Nikon Interface/menus! I'll be shooting some projects with it this weekend and will be doing an informal compare and contrast vs the Fuji S5 in terms of skin tones and noise ocntrol.

Pentax 6x7 on the way...

2007-11-10T16:27:00.000-08:00

Too nice to pass up... Don't have my paws on it yet, but will happily add it to my collection of fine cameras that others have long abandoned. I will do my best to get out and shoot more with these this winter.

Latest Kodak films to perish

2007-11-07T17:48:00.000-08:00

Ektachrome 64 & 100 along with high speed infrared all bite the dust.

Kodak Link

Like film? Shoot it and support the companies making it.

In the last two months, I've shot mostly my F100 and added a new Leica M7 to the fold. Although I love the ease and rapid nature of digital, there's still a lot of life and unique quality for film!

New Additions

2007-10-31T04:20:00.000-07:00

Scanner: Epson V700

Coolscans by Thom

Wasn't satisfied with the scans from the Epson 4990 and v700, thus exchanged it for a coolscan 9000.

Color management: Eye-One Display 2

Works wonderful (except for the so-so suction cups!)

chok dee!

2007-10-20T14:21:00.000-07:00

Nikon D200 vs D300 noise/IQ

2007-10-17T22:42:00.000-07:00

You may not be able to read it, but the images speak for themselves.

d200 vs d300

I think Nikon has a couple huge winners with the d300 and d3!

Canon 1Dmk3 fix is in?

2007-10-17T17:34:00.001-07:00

Say it's so Sam...

mk3 fix?

I would see if it actually pans out before ordering yours tho...

Ramblings 10/15

2007-10-15T10:44:00.000-07:00

Been a couple weeks since I last posted-- my apologies. I've been pretty busy between travel, a bout with a headache, and getting some business/financial items in order.

I unloaded a canon 24-105L, 85L, and a 5d body a couple weeks ago as well. Not that I didn't like them, but I anticipated a price drop and a large rebate release. The price drop came on the 5d ($2300USD B&H Photo), but haven't seen the rebates yet. My next purchase will be either a Nikon D3 vs. Canon 1dmk3 or canon 5d (if I can grab a 2* rebate again... it's too good to pass up). The 24-105L lens will be replaced by either Nikkor 14-24 + my 50mm prime or a canon 16-35 + 50mm prime-- depending on the one I decide upon. I'll be at the photoplus expo in NYC this weekend, firming up my decision.

In the meantime, I'll keep shooting film and happily so. I've been shooting my nikon f100 and mamiya rz67 pro2 for the last month or so. IQ is sublime, however I still am not sold on flatbed scans. I've yet to see one that approaches the original print and don't feel like dropping 2k on a Nikon 9000.

Chengdu, China

2007-09-29T19:23:00.001-07:00

"Commute"
Nikon D70, Nikkor 18-200 VR

Fine Art Reproduction and Giclee

2007-09-15T17:56:00.000-07:00

fStopStudios is starting to launch a new service for artists-- Giclee Prints.

We offer precision reproductions of your original artwork using state of the art giclee printers. Reproductions of paintings in oil, acrylic, & watercolor and drawings in charcoal and pastels are printed with stunning accuracy and detail. We guarantee you will be satisfied with the results-- no if, ands, or buts!

The art will be photographed either as a 6*7 medium format transparency or captured directly with a phase one medium format digital back. Once the image is created, processed, and corrected-- it becomes your digital asset. You can print as many as you would like using either our printing service or at any printer service of your choosing.

Printing will be with archival lucia inks lasting well over 100+ years. Predictable and accurate color with screen proofing and ICC profiles.

Pricing:

Image Capture/Scan: $175.00. Includes capture, scan, processing, color correction, and 8*10 proof print. You will be provided and own the final digital image and can produce as many copies as you need and may use any printing service you wish. Volume discounts available for multiple images.

We do offer giclee printing service on Hahnemuhle Photo Rag or canvas.

Email us for a custom quote today!

email: marco@fstopstudios.com

Film Scanning

2007-09-13T10:59:00.000-07:00

Scanning has taken up the better part of my week... phew.

I have a lot of slightly damaged negatives from the early to mid '95 I finally got around to scanning.

Misc ramblings Sept 8th

2007-09-08T12:17:00.000-07:00

Well the summer is over and it's been a wonderful summer shooting. This fall I would like to slow down a little and not be booked 100%. Sounds crazy, but it wears you down after a while and hampers creativity ... imho.

------

Best places to buy gear online:

www.bhphotovideo.com (if I buy it new, I buy it here)
www.keh.com (if I buy used, I usually buy it here)

------

I'm beginning a new project, much like the common picture-a-day theme that is popular in some circles. Mine has a twist tho, it will only be shot in film. Some folks either try reading a little to much into this on one hand OR think what's the big deal... In fact, neither is accurate. I'm doing it as a personal retreat of sorts. I love digital and technology as much as anyone, but I find myself missing the ambiance and look of my film work. However, I'm human and I tend to follow the path of least resistance (i.e. digital)... so this project will force me to shoot daily in film and slow down a little.

Not sure of the details yet like where I'm going to post/show this work, but probably over at flickr.

------

Weight... Wow, I guess all the hours behind the camera and computer have taken it's toll-- I gained 20 pounds this year! Thus, this far my goal is to improving my workflow/ cataloging of images and work on my diet/exercise.

------
NFL began this Thursday! What a flop tho-- the Colts creamed the Saints. The AFC is really dominating these days... Go Pats!

Film Graveyard?

2007-09-01T20:41:00.000-07:00

Do you have an old film outfit that hasn't been used in many years? If so, why not donate it? I'm finding homes for film gear-- mostly students. I'll also be testing different bodies and posting image samples thus could use your help. If it is a complete kit and in exc condition I can offer a modest sum as well.

Looking for:
Any nikon 35mm film body
any medium or large format kit

Nikon new releases

2007-08-22T22:07:00.000-07:00

Nikon Announced an update for the d200 and D2x

D300

D3x

You can read the specs in the releases, but lets just say the two come at the right time. Both at the very least give current Nikon pros a reason to remain shooting Nikon. Perhaps more exciting though is the release of two new pro level lenses!

new lenses

Congratz Nikon!

Thought for the week

2007-08-16T20:11:00.000-07:00

Don't feel intimidated by not undergoing formal study. Learning of technical aspects in photography and education in general is no doubt important (I had 8 years of student loans so it better be!). However, a MFA or even formal study in the arts is not needed to produce wonderful photographs. Photography is a tool for both documenting and self expression. The composition should be spontaneous and dependent on the circumstance and scene. The photographer is guided by their vision, not by a set of rules for design in a dusty text. This is not an excuse for slop, but don't let anything hold you back from creating and experimenting. When you post online and see robotic responses-- take them with a grain of salt.

Creativity Begins with Control

2007-08-10T21:25:00.000-07:00

A lot of photography has taken a turn for style over substance. More than a few folks spend hours upon hours post processing images that may look OK from a technical standpoint, but communicate little or nothing to the viewer (i.e. lack creativity for the most part). Although there is fantastic artwork being done in the realm of digital art (defined as when the end product is largely created in postshoot rather than preshoot and shoot phase), I find many lacking planning and execution. This is not an indictment of the genre, just a comment on how aspiring photographers often execute upon it. This blog entry is not about that though; it’s about traditional photography concepts that you exert control over. Things like composition, angles, aperture, focus, and depth of field, which the sum of is used to make whatever statement you intend. And, make no mistake -- this “statement” is what will make or break your image.

The term “snapshot” is usually given to images that [for the most part] lack preshoot and postshoot control or forethought. Someone saw something; they pick up a camera and click away without much thought. Although sometimes they get lucky with a snapshot, the images generally do little for anyone besides the person who took them. Making interesting images/photographs involves decisions during the preshoot, shoot, and postshoot phases.

Previsualize the scene. What do you want to capture (the essence)? how do you want to capture it? What do you want to say about it? The answer to those questions will help determine your vantage point, the aperture, depth of field, cropping/focal length, lighting, etc. Then you capture the image and enter the post phase and once again, a slew of decisions ensue. Even for traditionalist, post includes cropping, adjustments to contrast, exposure, sharpness, possible toning, color adjustments, and printing. In short, photography is about creating images through a series of interrelated decisions, which ultimately have just as much an impact on the effectiveness of the final image as the subject matter (and perhaps more so).

The following is the phases I go through when creating an image. Of course it depends on the subject and setting, but it is still useful for illustrating a systematic or structured approach. Sometimes the entire process takes 1-2 seconds at most, other times it may be take 30 minutes or even an hour.

Step one—Communicate. Ask yourself what are you trying to communicate? What is “it” that catches your eye (i.e. the subject)? This can be something as simple and literal like a pretty face, flower, a building, or a model’s long legs or abstract like a shadow, a form/shape, etc.

Step two-- Explore. In certain kinds of photography (photojournalism, nature, etc) that may mean researching the subject matter. The more you know about the subject, the better chance you will be able to capture its nuances. However, this is referring more to photographic exploration-- walk around look at “it” from different perspectives (get down on the floor, stand on a ladder, look at “it” from the front, ¾, profile, rear. Now add/modify light. Soft light, hard light, ratios, type of light source, highlights, shadows, etc, etc—the possibilities are endless. The intent is not to bewilder the shooter, but for the photographer to explore the subject at hand.

Step three—Control. Eliminate anything that distracts the viewer. In effect, force them to see what you want them to. Forget about the ordinary. Forget about rules that were meant communicate a general concept… I’m often stirred by shape and shadows in images—the actual subject, while important, is complimentary. Many technical considerations are finalized in this step.

Step four—Capture. The stars have aligned—press the damn shutter!

Digression: Exposure. With film, the general rule is to expose for shadows, but develop for highlights. With digital, we (or should I say the internal algorithms) generally expose for highlights, and let shadows fall where they may. However, if your doing faceshots for example, you want to exposure for midtones (skin tone of the model). Learning to control and understand exposure is fundamental in BECOMING a photographer. Although, you may not have to sit down and read Ansel Adam’s Zone System, exposure and latitude, needs to become second nature. In a studio, a light meter is indispensable. In the field, you often need to make near-instant decisions mentally using nothing more than experience. This of course takes time and practice. Unfortunately if you’re amongst the legions of AUTO-EVERYTHING, this is unlikely to occur.

Step five—Post. Learn to adjust levels, curves, sharpness, color, and resize images like you were born doing it. Forget about downloading actions, Gaussian blur, clone stamp, and everything else that is totally worthless until you can at least master basic controls. In terms of color, I have a strong preference to nuke it. As mentioned earlier, my intent is all about the subject, form, contrast, texture, shadow, and highlight. In my not so humble opinion, color does nothing except distract the viewer from those elements. It is an example of style over substance. Color does have an immediate impact in images and will be the first thing the viewer is drawn to. However—is the “color” the intent of the photo, or merely a distraction?

For my purposes, color is typically a distraction, thus I force the viewer to see things as I want them seen albeit unconsciously. On almost every “color” image I make digitally, Photoshop’s Hue/Saturation is my first stop after adjusting exposure. The saturation slider moves in one direction— to the right! I’ll explore the individual channels just to see how each contributes to the raw image, and then I’ll adjust each downward appropriately. Many cameras automatically push images to the warm side (that is red) trying to make them more “pleasing” for consumers—thus I basically obliterate the red channel. Even better -- just work in B&W! If you don’t like B&W, then either you need to “learn” to see in B&W or your beyond hope. I don’t know anyone who has shot extensively in B&W film, who doesn’t love it. That relationship usually begins in a formal photography program or course. I consider B&W an old friend, with whom I find great joy and comfort working with. Try it, you'll come to love it as well!

2007-08-03T19:17:00.001-07:00

ramblings, update, and the loss of an artist -- 8/02

2007-08-03T18:03:00.000-07:00

"The hardest thing about being a photographer is, you have to take pictures"

-Doug Bartlow

Wow. What is the hardest thing to accomplish as an artist (besides make a living?)... Staying focused and producing.

This week was one of distractions. Art show --> family issue ---> tooth ache (filling/chipped tooth) --> misplaced rent checks for the studio (they can't find past rents??) ---> hot/humid ---> car battery croaked ---> wallstreet taking a dive.... must I continue?

What's the point? All that "stuff" resulted in nearly zero photographic productivity. Sure, I took care of what came up, but the point is a week is gone...

If I want to truly strive to "become" and produce what I believe I am capable of, I better get off my sorry ass and do it. Am I the only one in this camp? Hardly, look in the mirror. Life and art is fleeting, a ripple in time.

Speaking of the Art Show. It was an outdoor art show mostly comprised of painters. There were a few photographers though. All cliche work, most crap, but one gentleman did have some nice captures. My stuff, while gathering quite a bit of looks, energy (one guy almost collapsed (honest!), and positive feedback, didn't generate income. Other guys, with colorful globs of nothing, sunsets, and boats on the cheapest of paper and frames-- moved a little. Leads one to ask, does one alter their vision and work to suit the consumer or does one pursue a vision and regard pesky consumers as noise? There is no right and wrong here, but I won't be doing 50 boat and sunset prints anytime soon.

In other news, a 29 year old photographer in CA committed suicide this week. His handle/name-- DM Gremlim. He was very creative. talented, and seemingly tortured by his own work, while he clearly had some other issues to contend with. It played itself out in real time over at Deviant Art and his posts. He left us a few days ago.

From his webpage and Bio

---------------------------------------
""I like taking pictures of things that interest me."

I feel that if a piece of artwork, photography or otherwise, was meant to communicate something - and requires extensive explanation to achive that communication, that piece of artwork is inadequate in its design. That being said, not everything in life needs a purpose beyond just being.

Therefore I will offer no explanations, excuses, distracting pretentious adjectives, or further statement regarding my methods or motivations - and leave it up to the individual viewer to judge, be moved, offended, or indifferent.

Bio

The personal details of my life are irrelevant. I am a messenger. I was never born, and I will never die. You can believe that I am as old as I look, or you can wonder about my 'reality', but your curiosity offends me. I have no formal training in anything, and I believe most schools and colleges nowadays are a waste of time and money"

-DM Gremlin
------------------------------------

RIP. He's not alone.

Happy B-day Marco

2007-07-24T23:46:00.000-07:00

41, Man o man-- how the time does fly. Here's an image from China that I was working on today. Hope you like it.

Chengdu, PRC, Nikon D70 w/18-200VR

A tribute to those who inspire...

2007-07-23T16:58:00.001-07:00

"All photographs are accurate. None of them is the truth."

Richard Avedon (May 15, 1923 – October 1, 2004)

What drives to see things differently? What motivates us to spend countless less creating something that many people many not like nor understand? While I cannot answer that for you, I know what and who serves as inspiration for myself. I've always been moved by all artists whether that be performing or visual. Whether it was the ballet and watching the elegance and grace of the dancers or looking at a Monet for the first time, the feeling and passion is the same. My desire is just achieve a small fraction of such beauty.

Millions of people have cameras in the world, but there are some unique individuals who have/had the creativity, talent, and passion to see the world just a little different and add their trademark to it. With that gift, they have truly enriched our culture and society.

Photographers seem to fade from the limelight after they pass away, becoming less and less known over time. People are too busy looking at and fussing over some "new" trend or artist. While it is an evolution of sorts, it's also a shame. A photographers skill and body of work is no different than a painter's and should be regarded in the same light in terms of commercialism and viability. This blog/thread is about a few such people-- artists that ensured their own immortalizing.

I'll be adding to the "list" as I go, but the very first nominee is Richard Avedon, who passed away in 2004 after a lifetime of achievement.

He painted Jimmy Durante, Brigitte Bardot, Georgia O'Keeffe, Jacques Cousteau, Andy Warhol, Lena Horne, and countless others using his camera in a way that defies description. Simple, yet so elegant, descriptive, and powerful as an image. And while that sounds cliche, one glance at his work and you will nod your head in approval at my admittedly unjust description of his work.

Links:
His web site is down, but let's just hope it's back with us soon. Richard Avedon Home (DOWN)

WIKI Page/Biography

Met Museum Special Exhibit with images and audio links

Time Trib/Obit

On-line gallery sample work. Click on enter, artists, then on Richard's name (or browse around)

Models ... 10 tips

2007-07-23T08:10:00.000-07:00

1) Go to newmodels.com if your new and looking for basic/realistic advice on becoming a model.

2) Don't load up your portfolio with myspace type images or snapshots you/your friends took and think people will hire you. If someone offers you money-- be careful.

3) Think carefully about your objectives, your physical attributes, and how much time/energy you want to commit to it.

4) Find a good photographer to work with. Everyone needs to start with a basic port consisting of nice headshots, etc. While, you may not be able to judge photography, you can get a general sense of the professionalism and quality by looking at some examples of their work.

5) In life, you often get what you pay for... photographers are no different. This is not to say there is not very good photographers doing this as a hobby, but I stand by the generalization.

6) Network with your peers. Join an on-line community. But use it for ideas, try not to take what you read/hear too seriously...

7) All photographers you work with should have a copyright release and image usage contract for you. They should be able to clearly explain both to you and do expect to sign both before shooting. Photographers/artists take intellectual property rights pretty serious for the most part.

8) Establish a level of comfort with the photographer via email/phone before the shoot. You should have a very clear idea of where, when, what, how, etc for the shoot. In addition, you need to feel comfortable and safe working with the photographer. Use common sense PLEASE. People offering to meeting you very late at night, offering to pay you sums of money to model when you have little experience, offering you drinks, etc are ALL big signs of trouble. I assume you can read.

9) Book a session (preferably with Mr. fstop)!

10) Go back and read newmodels.com again

Cosplay Calendar

2007-07-12T08:45:00.000-07:00

Photographer: Marco, Model: Han Nguyen

We've begun shooting for the upcoming calendar, which has a cosplay theme. If your interested in participating as a model, please contact us ASAP for consideration (marco@fstopstudios.com). Must be 18-25, petite (size 0-4), and attractive. Exp preferred, but not required. Will provide further details upon request.

The pricing of art...

2007-07-05T19:19:00.000-07:00

What to charge for one's art is an daunting question for newcomers. Everyone seems to have an opinion and much of it is far removed from reality. I highly recommend the book "Focus on Profit." There are also a few excellent articles online:

Photography Pricing by Dan Heller and a 6 page excerpt from the book Focus on Profit by Tom Zimberoff posted @ Rolando Gomez's Glamour1 site: Competitive Pricing

Here's my favorite tidbid that should serve both artists and buyers of art well :)

Excerpt from The Art of Pricing
© 2002 Tom Zimberoff

"The story goes that a wealthy couple was honeymooning in the south of France in the early sixties. The groom was a connoisseur and collector of fine art. In fact he owned several paintings by Pablo Picasso. By coincidence, they met an art dealer at their hotel who knew Picasso personally and offered an introduction. Arrangements were made for a rendezvous at Picasso's villa in Vallauris, just outside Cannes, the following day.

The party arrived at noon and was treated to a tour of Picasso's studio by the master himself. In the course of small talk, the groom gathered all of his nerve to ask Picasso if he would consider painting a portrait of his bride. To his surprise, Picasso agreed. In their excitement the couple began chattering about how long to extend their hotel reservation and about buying a special gown for the sitting… until Picasso brusquely interrupted to ask if a photograph of the young woman was available. Her husband took a snapshot from his wallet and handed it over. “Well,” Picasso said, “just leave this with me and go find some lunch in the village. Come back in one hour. I will have a painting for you.”

Astonished, the couple left with the art dealer for a bite to eat. They returned in one hour, just as Picasso was putting the finishing touches on a splendid if rather theoretical likeness of the beautiful bride. (Incidentally, you may assume that Picasso infringed no one's copyright by creating a derivative work from the snapshot; the groom took the photo!) Everyone was pleased.

The groom inquired casually about Picasso's fee, as he reached into his pocket for a checkbook. Picasso asked for $25,000 (in French francs). While price was no obstacle, the man joked about what a nice job it was to make $25,000 an hour painting pictures. Picasso's sober retort was, “You don't pay me by the hour. You pay for the years of hard work that made it possible for me to paint such a picture in only one hour!”

Happy 4th Update

2007-07-04T20:25:00.000-07:00

I had a wonderful cookout today and hope everyone enjoyed their well deserved holiday. Happy b-day USA!

The studio is taking shape. Painting is complete and the basic equip is moved in (stands, seamless, softboxes, octas, etc). I still need to find some furnishings though such as a seat and desk to work at and misc. props for shoots. No complaints tho thus far-- I'll make the most of the 450Sq/ft :)!

The studio is part of an artist community and it's a great concept:

http://westernavenuestudios.com/

Weekend Flower

2007-06-30T22:22:00.000-07:00

Canon 5D, 180L Macro, f/16 @1/160

No shoots scheduled this weekend as I'm moving into my new studio-- my mother's garden had to do... Although I'm usually of the opinion that color is usually distracting in an image, the fusion of colors in flowers --esp. in an abstract sense with macro work can lead to some stunning images!

Elinchrom Ranger RX Speed AS kit: Initial impressions

2007-06-28T15:53:00.000-07:00

Well the kit finally arrived. While I have only tested the kit to ensure that it is functioning properly (it is), here are some snap judgments/impressions:

1. Elinchrom Manual/documentation is a terrible. For a supposedly "high end" company that prides them self on their product quality-- you would hardly know it by how they package, present, and document their products. You can see their manual actually online at www.elinchrom.com under manuals for the ranger kit. Now go to Profoto and look at the manual for the Acute or Pro series pack... night and day. Heck-- Alien Bees have better product documentation!

2. Elinchrom packaging is a ... I mean isn't-- there is none. I ordered the kit. It was packaged in two boxes-- 1 box contained the battery pack, and the other box contained the plastic case included with the kit and all the other kit items (spare battery, reflectors, head, etc) tossed inside the case without any packaging or wrapping. There was no further product information available for any product beside the battery pack. The spare battery had numerous cosmetic surface scratches on it, the larger reflector was warped and dented, etc.

3. The battery came fully charged.

4. Setup and operating it without decent documentation is a snap.

5. As noted elsewhere on the web, the modifier locking mechanism is flimsy, but that was noted before the purchase so 1) expectations were set 2) it works.

6. The ring flash I ordered is still back ordered and according to Bogen the 27" beauty dish is not available at ANY US Elinchrom dealer. Is this troubling to anyone else besides me?

7. I ordered from B&H and they offered to swap out any parts I wished-- no complaint there. However, I am disappointed with items 1, 2, and 6 listed above and seriously considering Profoto or Hensel at this point. I need confidence and trust in my gear assuming I can get it in a timely manner.

If any fellow Ranger owners read this, I would welcome your feedback and your experience/s esp. if it was wildly different from mine.

I am also writing the company and giving them feedback with the hope they improve/mature their operations. I'll provide an update if/when they provide a response.

Elinchrom Reponse:

Dear MARK,

We are very interested to have your feedback and thank you for putting it on your blog.

Will you please put this reply on your blog also because we have not had a report of this type of damage before so we need to know if there have been other example.

If anyone has will you be kind enough to e-mail us images of the problems. Our complete kits are normally sold individually compartmented in a very robust black case. We also need to eliminate all risk that they could be shipped out from here in the reported condition.

We are committed to a high standard of excellence - our products sell on quality, not simply great prices so IF ANY ONE OUT THERE HAS HAD A SIMILAR EXPERIENCE, PLEASE E - MAIL US WITH FULL DETAILS AND IMAGES IF POSSIBLE.

Kind Regards

Malcolm D. Whittle

President, Elinca S.A.

Thomas H.W. Beinke, Deputy Director / Marketing

www.elinchrom.com
------------------------------------

Note-- Thanks go to Elinchrom for the response. The solution in terms of controlling product quality while shipping could be easily done via sealing the case or individually packaging components. The second issue of product documentation is a relatively minor issue and I have received an updated manual from Elinchrom that I will be reviewing. -marco

Hasselblad 500c/m

2007-06-24T18:38:00.000-07:00

Last week I picked up an old Hasselblad 500/cm with 80mm lens. I've been kinda busy since playing with it and absolutely love it. So much so that I shot with it this evening rather than using the 5D.

Anyone who loves photography really needs to experience medium format film. Old kits in good condition can be had for less than a decent lens nowadays since the masses have declared "film is dead"

Only the ignorant rant about how digital obsoleted film. Perhaps for consumers and mass markets there has been a paradigm shift-- no doubt about that, but for the pure of heart, there is no comparison. And to anyone who had beheld a vintage Hasselblad and released the shutter’s sweet lullaby, you know of which I speak.

The Making of a Pro Lens

2007-06-18T20:59:00.000-07:00

In terms of pro lens, there are three kinds of people:

1) Those of us who invest in pro lens and understand value and reliability they bring to our craft.

2) Those who buy expensive stuff hoping it will turn them into something better than they are. These people end up taking pictures of brick walls and screaming that they didn't notice much difference when stopped down vs their el cheapo lens.

3) The remaining 98% of the population who would faint if they knew how much a pro lens cost, or think we are totally nuts if they do know.

Here is am amazing video of the birth of a Professional Canon Lens-- one of their large L primes. If shows just how much work, precision, science, and art went into crafting each one.

Yes, quality lens cost a few dollars, but each of them is a masterpiece in their own right.

Here's the link. From dust to completion... Enjoy!
The making of a LENS

Studio Lighting: Selecting Lights--Power!

2007-06-17T21:40:00.001-07:00

Most folks that buy lights opt for monolights. A monolight is a flash head and AC unit all in one unit. Before I continue, the terms flash and strobe are used interchangeably by vendors. Monolights run anywhere from $300-2000 per light, with an average quality one running 500-800/ea. Top brands are mostly European led by Broncolor, Profoto, Elinchrom, and Hensel. Other solid choices are offered by Norman, Dyna-lite, and White Lightning/Alien Bee.

I'll talk more about actual lighting and equip in the next blog, but in this one I wanted to share some thoughts on powering lights. If you buy monos (vs battery pack lights) you need AC power, which is fine if you stay in your studio. But what if you don't? Well one option is to throw down anywhere from another 2.5-7k on a battery pack and "heads" that plug directly into the pack (usually allows up to two lights). And to be honest, just about every pro does uses this. However, some companies (very few) offer remote power inverters, such as the White Lightning Voyager and the Dyna-lite Power Inverter ($1300)

The Dyna-lite inverter is the top of the class and really the only viable option for those out these in the field as it has an 1100 watt inverter. This led me to churn the wheels so-to-speak.

One possibility if your working outside is buying a small and efficient Honda generator such as the Honda 2000i model (runs anout $1050)

Alternatively, you can build your own inverter. A 1000w pure sine wave inverter runs about $360 at http://www.samlexamerica.com/products/refurbished.htm. The White Lightning Vagabond uses the 150W model listed. Then buy a sealed lead acid battery such as this one:
http://www.batterywholesale.com/battery-store/proddetail.html?prodID=380, which is rated at 35aH. There are a gazillion batteries though out there tho you can use and on the net it shouldn't run you more than $60. Then just add a case, connectors from an local electronic store, and a charger. For around $500 you have one that matches the best commercial ones available!

Here is a complete do-it-yourself breakdown and guide for building your own Vagabond pack: http://www.adidap.com/2007/01/24/diy-vagabond-power-pack/

Trust me, I'm not all that mechanically inclined and I think I can even manage this!

In my particular case, I'm not sure what I will do. I need to add a few more lights to my collection and very well may opt for a portable pack such as the Profoto Acute's, Elinchrom Ranger, or Hensel Porty. While you can use a generator for setting up an outdoor shoot, and the inverter to set up a planned indoor or outdoor shoot, neither one is extremely mobile, unless you have Arnold Schwarzenegger lugging your stuff for you (a YOUNG Arnold).

UPDATE: NEW inverter pack for monolight use in the field announced by Paul Buff and CO. Vagabond II
Comment: while the 150 and 300 older gen packs were nothing to get excited about, the Vagabond II putting out 900 w/s for a mere $299USD, is something that is definetely worth you taking a look at!

Studio Lighting: background reading assignment

2007-06-13T18:44:00.000-07:00

Now that I provided some studio lighting context and background, this installment spares you (temporarily) of my ramblings. I have elected to provide you with a wonderful lighting link:

Chuck Gardner's Site

Following a brief intro, you will see his chapter on "Lighting Concepts" with a link below the intro. There are also additional chapters that touch on Canon flashes, etc if your interested.

There are many books one could read or opinions on-line, but I've yet to see lighting fundamentals explained in such a simple, effective, and straight forward manner anywhere. Time taken to careful read over his site and taking notes is well spent.

Enjoy!

Update 6/11/07

2007-06-11T06:24:00.000-07:00

Been a few days since I posted-- my sincere apologies. It's been a busy week of weddings and a new product, and signing a new studio lease.

I went out and got CS3 last week primarily to keep my revisions current and not expecting a whole lot over CS2 as I was quite happy with that. However, CS3 rocks. As I mentioned in prior posts, I was getting my B&W conversion to a level I was approaching satisfied with. However, Cs3 greatly improves upon B&W conversions in terms of features, quality, and speed. I can now quickly do conversions and the output is at least as good as CS2, only with a LOT less time!

Stay tuned, Lighting part 3 will be released this week.

How to Carry a Camera!

2007-06-02T20:20:00.000-07:00

How to carry your camera? Ya, you! If your going to be a photographer, carry it like you know your doing. I was going to blog about it, but came across this awesome little video! It rocks and I mean rocks-- I love the song by SPOON! To quote the blogger who posted it:

"I wrap the strap around my hand, not around my wrist! It's all about being quick. Don't carry your camera around your neck like a piece of jewelry or like a f'in tourist"

- markus hartel

Here's the link: instructional video

Enjoy!

Studio Lighting: Intro Cont.

2007-05-26T23:55:00.000-07:00

Congrats for making it through part 1! This part will be fairly short and focus on your GOALS and some elementary concepts you need to know before you touch a light.

First, there are THREE tenets or assumptions:

1) when I'm in the studio, I'm working with a model or a client. For those of you toiling over apples, oranges, and bananas I salute your diligence, but I will use "model/s" as a frame of reference. IMHO, models are a heck of a lot more interesting than apples!

2) the whole point of the image is the MODEL. There should be nothing to distract the viewer from the model. I'm a minimalist. If it doesn't add value-- it's not in the image. Even when I have props (any objects) in an image, they do not compete with the model for attention. That is accomplished by composition, lighting, arrangement, color, distance, and depth of field. I don't have time to explain all that, but grab any of the books on my home page and it will tell you all you need to know.

3) Have a goal, concept, and idea/strategy BEFORE you start. Is your model light skinned or dark? What clothes will they have? Are you working low key or high key? Have you thought about and planned the arrangements of complimentary colors for the clothing and background? Here's a good refresher and summary:

Color Theory (good stuff)

Terms:
Key light-- main light
Fill-- second light, called fill because it is set at a lower output-- used to soften shadows and allow for a pleasing transition between highlight and shadow.
Short or broad lighting-- place main or key light at a 45 degrees (camera ---> model ----> keylight). Broad is when the light is aimed at the side of the face that is turned towards the camera, short is when it is aimed at the side that is facing away from the lens.

Ok some very basic approaches and concepts...

Low key (average is darker than middle grey). This is how I shoot nearly all of my portraits. Aim the key light right at the models face and use short (better for males) or broad lighting (better for females). Short lighting is also called Rembrandt Lighting--want to see what perfection looks like with this lighting? Look at Rembrandt's portraits... It's named after him for a reason!

High key (lighter) background. Common in glamour. I recommend using a form of lighting named after Paramount Studios when they lit up many beautiful stars. Paramount Lighting is when you place key light above the camera directly in front of the model. Also known as Butterfly Lighting. I use less lights than usually in this case due to the massive EL-Octa on hand!

When shooting female models, you need to pay particular attention to shadows. The area of transition between light and shadow calls your attention. Certain features are good to call attention to like the eyes and lips, but other aren't so good (e.g, nose-- esp. if she had a big nose). Trust me, you can take a technically wonderful image, but if she looks like Toucan Sam-- you'll going to get hate emails!

Okay, so you set up your key light and now your shadows are terrible-- what now? Well any recipe is just a starting point. When some book tells you to put a key light somewhere and at a certain height, it means to start there-- not necessarily end there. You need to setup, look at the model, adjust, look at the model, and so on until your happy.

I'll close Part 2 with an exercise. Start a note pad by logging into whatever photography web site you like and look at portraits and glamour images. Look at the lighting. Think about how they lit it, how it looks, notice highlight and shadow. Look at good and bad images-- the bad ones are easy to find. Lighting is harsh, flat, models have a deer in the head light look, and there is so much clutter in the images, you have to find the subject. Now open up a Victoria Secret catalog (VS) and the latest Playboy Magazine. Forget about the actual models and their attributes-- check out the lighting, composition, posing, etc. Actually, if you plan to do glamour, then VS is a good reference text. Much better than our texts in school eh?!

The Streets of Bangkok

2007-05-25T20:45:00.001-07:00

D70, 18-200VR, only post is crop and minor level adj

Studio Lighting: Intro

2007-05-22T17:26:00.001-07:00

OK, so your getting serious about studio work. Picture this-- you go around telling everyone your a photographer and then a aspiring model takes you up on the offer... have you really thought about how your going to pull this off? Do you have the right equip? Assuming you are good with a camera-- are you adept with lighting the set? This is the era of little patience and instant gratification when it comes to digital photography/ers, but I can assure you that developing proficiency with a variety of studio lighting setups takes not only money, but a good deal of time-- yes trial and ERROR and the time for the ERRORS is not when your with a client!

When preparing for the session you need to plan many details; camera, lens, location, etc, but they all pale in comparison to how you will LIGHT him/her in terms of the direct impact on image quality. Hopefully, by now, you realize that the flash that either pops up or that the one you've been sticking on top of your camera makes your photos look like ... well like crapola... If you haven't then, lets just say you better learn quick or your going to have an angry model on your hands and for good reason.

When it comes time for the actual shooting, you need to think about posing, checking hair and clothes, composition, focus, aperture, shutter speed, yadda, yadda, yadda. The last thing you want to be adding to the mix is figuring out how lighting works or your strategy. Did I mention, the difference between something that is well lit and something that isn't can be the difference between a great image and one that gets tossed in the virtual trash bin?

General Approach

You want to keep your lights higher than the model's head, and the entire area well lit. Cameras are able to capture a limited dynamic range - too bright and whites get bleached, too dark and you get a noisy image lacking depth and color. When I first learn a skill, I start with selecting a role model. In terms of studio lighting, the big kahunas are all in Hollywood. Movie stages are lit up huge, no make that LIT UP! Keep in mind though the overall effectiveness of the lighting depends on the balancing of light and shadow. When done correctly, this reveals a 3 dimensionality, form and mood to the image. It's also something your not going to figure out by reading this article or even reading a book. It takes constant practice and gaining experience, modifying it as you go. Be patient, it is an evolutionary process.

HINT: Use one light at a time. See how it lights up the subject-- the interplay between light, shadow, model, and position. If for example, I'm using a main, rim, and background-- I'll look at and adjust each of these individually.

First Things First

Gear heads may hate the notion, but simple works best. Use any/all lights that are around. Need more light, try Home Depot (check out Rolando Gomez's Glamour Photography: Professional Techniques for an interesting suggestion)

make use of modeling lamps
Use a reflector to bounce an existing light source onto your subject.

A reflector is just a just silvery, gold or white fabric stretched over a frame. There are many brands you can buy, most of which explode when they open into massive circles and collapse when your done..making them easy to store. Just be careful you don't knock out your model with one! They come in two main varieties: silver/white and gold/white (the gold is good for warming up flesh tones). They are fairly inexpensive, but if you can't afford them, you can make them with some generic supplies.

Reflectors for the Starving Artist

Go down to the supermarket and get hold of some big cardboard boxes and some aluminum foil. Cut the boxes and separate into large sections, then attach the foil to the cardboard and viola-- you have folding reflectors! Use the shiny side of the foil for a hard reflector or the dull side for a more diffuse reflector.

To be cont...

The Power of 135L

2007-05-21T16:29:00.000-07:00

The lens is amazing. Walked up to a dandelion in the yard, set to f/2, hand held and fired this shot off. The only processing was a crop/resize, very minor S curve, and a 70%, .3, 0 USM performed on a raw file with no in-camera processing. It's converted to jpg at 70% quality (i.e. your seeing the wimpy version). This lens is almost too sharp for applying any kind of sharpening.

Oh and just a little bokeh to boot!

Canon 5D, 135L f/2

Product reviews: you asked, I deliver... well sorta

2007-05-21T02:01:00.000-07:00

Ok-- I will accommodate several requests and review my major equipment. But I'll review it in terms of how I think, which is far removed from resolution charts, imatest plots, brick walls, and all sorts of other crazy borg-like tests.

Now before I get started, here's a hint you need to remember when you read personal reviews-- the person OWNS it, thus you can assume they like it for the most part (or they would sell it).

Drum Roll please...

Canon 5d-- Wonderful, wouldn't trade it for any body under 3k, err make that under 4k. I like FF, IQ/resolution blows everything away near it's price point (currently around 2.6k), and the noise control is excellent-- roughly on par with the new 1d3. Nothing bad to say about it.

Nikon D200-- Great body, in fact perfect body design for a semi-pro and back-up body. Built like a brick and feels great. IQ is very good, noise control is also very good under 800 ISO. IF I had to buy only one body under $1500, this is it! If I could rip apart the 5d internals and stuff it in this body, I would be in heaven. For those of you wondering, in terms of IQ and details, while very good, the 5d is at LEAST slightly better in every respect-- noise control is not even in the same league, let alone ballpark. Then again how many of you shoot at 1200 or 1600 ISO?

Canon 24-105L: sharp for a zoom, IS is a blessing, BUT @ the wide end, the barrel distortion can be severe and moderate vignetting. A real bummer... Ya, I don't care that I can run all my images thru DxO or ptlens-- a bummer and to be blunt I expect better on a pro lens that run 1k.

Canon 24-70L: just as sharp, one stop faster, but no IS and shorter range. Very well controlled distortion at the wide end and built like a tank (I like tanks!). After using both, I would now give the nod to the old 24-70 as I need to shoot at the wide end for both zooms to make it worth the cash -- otherwise, I'll go grab a 50 f/1.4 and a 85 f/1.8 for a lot less moula.

Canon 35L: my new street/PJ lens :) Lovely

Canon 50 f/1.4: 50s are always a no brainer for any camera. Everyone should have one in their pack.

Canon 135L: my sharpest lens, love it-- perfect for outdoor portrait work. The only downside is I often don't have enough room to use it indoors. Otherwise I would never take it off.

Canon 70-200 IS f/2.8: my first white lens. Good build quality and by far the sharpest zoom I've tried from canon. Makes the 24-105 and 24-70 look a little soft. Sold tho as I ended up using my 135L instead of the 70-200 for almost all my outdoor portraits.

I love ALL the canon L primes... Great stuff if you need top build quality and have the $$$, the 24, 35, 85, 135, 200, 400, and so on are all nearly perfect in terms of what I want and expect.

Nikon 17-35, 28-70 and 70-200. All fine lenses. I love the feel of all three lenses and in terms of quality, all are on par with the equiv canon zooms. In fact, I slightly prefer the feel of these three lenses over the equiv canon Ls, but it's essentially a draw and you'll probably get 10 different answers from 10 different people. In terms of value, they are also on par with canon except for the the 28-70, which runs 40% more than the 24-105 or 24-70 canon offerings. IMHO it's a bad buy at least until 1) nikon wakes up and offers folks FF and 2) they cut their price on the 28-70 to around $1150.

Knock on wood, but I've never had one issue with Canon in a year on using them (DSLRs). In terms of Nikon, I never an issue in 15 or so years of ownership. Perhaps I'm blessed, but both companies are super to deal with and anyone trying to convince you therwise is blowing smoke up your %$&&^#.

The bottom line is that you and I can own any of the equip above and it will not limit our ability to make stunning images one bit. There is always one a little better and gradations with everything, but at some point we need to stop caring and just shoot. Unless there is something specific you need or a particular lens/lenses that one brand has and the other doesn't, then whatever feels better in your hands is the best camera.

See that was easy-- reviews complete!

Weekend in Boston

2007-05-17T15:19:00.000-07:00

Both taken Mothers Day weekend
"Longfellow Bridge" and "Backbay"