#I say this as a photographer → borrowed some lights for a shoot and I'm too scared to look at the price of them

[brw]

No wonder Peter Parker has no money.

He's a photographer.

[thedaveandkimmershow]

DAY 2

(morning afternoon and a drive that makes us doubt our choices)

Friday morning's a slow morning. With family at work and at school, we have the place to ourselves featuring breakfast on the sunny side of the outdoor patio in the company of the family Chihuahua, Cookie.

12:30 we're out and about in the community having borrowed Kimmer's cousin's truck. Our objectives? A new wallet for me. A new windbreaker for me. And anything for which Kimmer's on the lookout. To that end, we go on shopping expeditions at GoodWill and then Salvation Army. I don't find what I'm looking for but Kimmer finds a T and a cool denim jacket.  

I do manage to score some Christmas photographs, though. ☺️

After that, lunchtime! At Board & Brew for sandwiches.

We each have half of our sandwiches, saving the other halves for later... which actually did both our Future Selves a solid.

Afterward, it's a quick stop for gas until we're back at the homestead at four for a quick turnaround.

Why?

Because Linzy's in L.A. tonight with The Little Lies featured as part of a live podcast at the Regent Theater.

Doors open at 7. 

Show starts at 8.

And at this time of the day on a Friday afternoon/evening, it's gonna take an hour forty-six minutes to reach the theater. Bit like swimming upstream the whole way.

So we're on the road again around four-forty with Kimmer's cousin. Just the three of us.

As day transforms to night, we make better time than Maps predicted, pull off the last freeway onto neighborhood streets until the neighborhoods give way to darkened two- and three-story buildings within ten blocks of the theater. And what we see as we navigate these streets does not fill us with confidence... for now the sidewalks are crammed with tents from one end of a block to the next. I see it mostly on the west side of the street with somewhat less on the east. Also, there are a lot of figures randomly wandering the streets, especially the side streets and, at one point in passing, I see people gathered on the sidewalks and randomly in the streets and I also see a campfire-like fire that's been built almost in the middle of the street.

Burning away.

No way around it. The word dystopia comes to mind.

The movie Escape From New York comes to mind.

And we're starting to question even being here.

This continues a few more blocks and eventually the tents subside, giving way to more nighttime urban life on rundown city streets where there's actually more street lights.

Thank God.

At some point, we take a right onto an arterial and, lo and behold, there's the marquee for the Regent Theater beckoning to us on the right side of the street like an oasis in the desert.

We keep going right passed it. You see, our objective is to locate parking that at least seems safe. That objective quickly gives way to a need to find a place to eat.

By 'n by, we pass a large restaurant that seems agreeable... but it's closed. At the next corner, we take a right and, at the next corner, Kimmer's cousin realizes where we are. 

Olvera Street. 

More importantly, he sees right away where we can stop in to eat, pointing across Kimmer at the location and saying

"That's where we're going to get your tacos."

The only challenge now is parking. But that conundrum is solved as we take another right where, there before us on the left, is beautifully lit Union Station.

Right now, we're seven to eight blocks away from The Regent as a plan instantly forms. We'll eat the cost of parking behind iron fences at Union Station then use a rideshare to take us there 'n back from the theater.

First up, of course, dinner!

So we cross from Union Station to the north side of the street and walk back toward Olvera. Now, I was actually here many years ago on a shoot for America's Historic Trails with Tom Bodett. I bought jumping beans here and quickly discovered upon my return to the Pacific Northwest that the little critters inside the bean I bought require, you know, warmth. 

So that was the end of my jumping bean. 😕

In the time since then, I forget or perhaps never knew that there's a facade along the street about halfway down the block that provides a proper entrance to the historic pedestrian street that's tucked into the middle of the block.

Known as the "birthplace of Los Angeles" there are stalls and shops here. Cafes and restaurants. Music and dance. Museums and exhibits.

We're after six on a winter's night, though, so all of that's closed. What's definitely in plain sight is the amount of security here that does put us at ease. 

Now, when I said just now that everything's closed, that's a mostly correct statement. Most everything was closed. We even pass a restaurant that looks like it might be possibly open but nope. They tell us Closed. They're just cleaning up before closing down for the night.

Fortunately, the next restaurant, the one closest to the street, is open. Lights on. Grill doing its thing. A line in front of the counter. This is Cielito Lindo where we order its famous taquitos along with spinach tamales. So we grab a table, a bench, and a chair so we can relax our dinner.

Which we do. And it. is. lovely. ☺️

After that...

[louthomsonba3]

Different types of light - Daylight vs Additional light

Because I didn't really achieve a stark enough difference between the scene in daylight and infrared light, I want to now try with additional light at nighttime as I know this will totally change the way the scene looks via the lighting I will be using so the difference will be a lot clearer to the viewer. I am also hoping by doing this that I can capture these grey, almost lifeless buildings in a totally new way that hasn't been seen before.

Gregory Crewdson

Before I started properly attempting to light scenes within my area with additional lighting, I first looked at an American photographer Gregory Crewdson.

Shooting in large format, Crewdsons work often depicts large scale suburban scenes at night. He along with a massive lighting crew that he controls use light very expertly to add an amazing cinematic appearance and sense of drama to the compositions that draw the viewer in.

I am looking at Crewdson in particular because the way he lights these suburban areas is very relevant to what I want to attempt with lighting these council buildings within my area. Studying his work, the presence of people within the scene to me seems vital to achieving this certain feel, while in terms of lighting he uses it to create a lot of shadows, especially those sweeping across the ground so I shall keep these in mind.

Equipment

I wanted to come prepared to I borrowed from the store a tripod, 4 speed lites, 2 lighting stands and radio transmitters and receivers as I will be lighting a fairly large scale scene so will need these to get my lighting the way I want and efficiently. I will also be using my canon 5D mark II as it is a full frame camera and performs well in low-light conditions without impacting image quality too much.

Daylight/Location image

I liked this scene and composition as it shows off the building quite well and the garage in the foreground coming from the opposite angle make a nice balanced composition. These angles should also hopefully allow me to do some interesting things in terms of lighting and creating shadows etc.

**because I want to have the exact same composition with the daylight image and the low-light image, after taking the daylight image I placed Pennys at the edge of each leg of the tripod on the ground. This makes it a lot easier to achieve almost the exact same composition/position when I come back to shoot at night.

Contact Sheets

General Settings: 1 sec. f8, ISO1000

Overall the shoot went well, I attempted positioning all 4 of the flash guns at specific places and getting it in one shot but some weren't going off due to the distance between them and the transmitter on the camera, and also the size of the building itself. To resolve this, I made sure my tripod was in a firm position and took images with different parts of the building lit so I can merge them in photoshop.

Editing

Editing was quite simple, due to me having the exact same composition because of my tripod I could easily layer each image on top of each other, then I set them all to "Lighten", resulting in an evenly exposed image.

I cropped the image in from the left a bit so there was more balance in the composition with the building in the background and the row of garages in the foreground. I also took an image where the sky still had a deep blue hue to it and layered this in to add a nice bit of detail. Furthermore, I'm glad I took advantage of the garage wall and used it to frame someone in the foreground, while also taking advantage of the angle in relation to the camera to create a strong shadow to add to the drama, much like Crewdsons work.

It is also worth mentioning that I also got images of a silhouetted figure that fills the wall of the building in the background to help balance the composition and add an eyre of mystery, but I decided that it works better without and the opposition is still well balanced.

Final Canvas

I would say this is definitely an improvement from the infrared attempt as the difference between the two scenes is so stark. The strong shadows created by the lighting I used really make the building stand out and give it form, whereas the other image is looking very flat. I considered waiting for a very sunny day for the daylight image but I think the cloudiness adds a sense of gloom that makes the contrast with the additional light image that much more impactful.

I think I achieved what I was wanting to with this shoot which was to show to the viewer the difference the type of light can make to a scene, and also show my area in a new, interesting way. I definitely want to try this again but with another scene within my area.

[seatosomert]

What kit should you buy?

Ok, so you're probably expecting me to recommend cameras, tripods, lenses etc. I'm not gonna do that.

There is tonnes of content on YouTube etc to tell you all about that stuff.

So I'm going to keep it simple.

First, just scroll back up and spend a minute going through the images above. What do you notice?

I'm hoping what you'll notice are a few things.

I'm shooting different things within the images for different reasons or clients.

I have a fair few cameras (about 15 I think at my last count).

The cameras are all different. Why is that?

I'm carrying some kit on my person.

So, here is the thing.

You get to ask yourself the following questions.

What do I want to shoot?

How much kit do I want to carry?

Do I really need to carry all that kit?

So how much kit do I REALLY want to carry?

Do I want to generate an income from shooting?

Do I actually generate an income from shooting?

I have been a photographer for around 30 years now. Starting out as everyone does as a novice, then amateur, then enthusiast and progressed to a semi-pro (semi because I have another job I do I don't shoot full time but I do run my own photography and video business as well).

So my needs right now reflect the kit I buy. I've read loads of magazines with lovely flashy looking kit that I worked hard for to buy from my own day job wages. I spent a fortune. Then a year later, a new camera came out and my head was turned. Then I was lusting after that kit!

It's a never ending cycle where you can be bombarded with videos, reviews of kit and as you've probably learned,targeted adverts on Social Media.

Now my film cameras are purely a purist thing and I learned on film cameras from being a very young kid. So I am attracted to the nostalgia of it. Yes there is something about film that is so super difficult to replicate on digital, but do clients demand shoots on film? Nope!

Only one client ever asked for a shoot on medium format film on my Mamiya 645 pro camera. They had a specific look they were going for. It's expensive and it takes longer to turn the images around.

Clients want high quality media that can be manipulated by graphic designers for ad campaigns etc. And they want it quickly. So digital has to be the most efficient way to go.

I've bought kit that I've used once then stored it away for years! I've learned since then.

For several years now I only buy what I need to get the job done to the high standards that I set myself and that clients demand. If I need kit I may only use once, I'll borrow from a fellow pro shooter or I'll hire it.

So if you're not making money from your photography and unless you have more money than sense, don't waste your money on buying the best money can buy.

On saying that if you buy cheap 'tat' you'll be disappointed and buy twice.

Buy the kit you know you'll use often if you're a hobbyist, or if you want to take photos better than a smart phone can.

Remember also. You have to carry it.

I only buy stuff for my business now that I know I'm happy carrying and gets the job done. I'm fit and healthy but I'm also in my late 40s now and I've put my body through a lot of stuff over the years such as a motorbike accident, bashed about in full contact martial arts and other daft stuff, so wear and tear starts to kick in. Don't buy shit loads of kit that you'll have to carry and either injure yourself or just leave at home because it becomes a chore to carry it.

The best camera in the world is the one that is with you at the time. A £10k Leica with a Summicron lens sat at home in the drawer is useless at that point because it's not with you when you find that photographic opportunity.

So I have been switching out from DSLR to Mirrorless cameras for the last 2 years now. I'm not gonna harp on about what brands. It doesn't matter. Find what works for you.

Finally I'd like to share with you the two most important things that I've invested into my photography that supercede any fancy kit:-

Time and mentorship/lifelong learning.

Time and Mentorship.

By time I mean putting time into practising. No amount of YouTube tutorials or books will improve your photography if you're not putting the practice in. Shoot as often as you can. Practice with light, play with it.

Learn the limits of your kit and learn your own limitations and then fill the gaps by committing to learning for the long haul.

Not one successful photographer worth their salt believes they know it all. The world's best photographers have committed to life long learning.

Leads me onto the last thing.

I currently learn from many sources. Yes I'll admit, the odd YouTube video on editing techniques as software continues to develop. I'm a Pro member of the Photographer's Guild so I have access to all sorts of workshops and learning there.

I am a member of Karl Taylor Education and I've studied with Karl's many products for about 7 years now and I pay a subscription to access his classes.

I have paid to work with some leading industry photographers such as Gary Wallis from the London Photography Institute, Steve Howdle (Elinchrom Ambassador) and the Late Andrew Appleton (Former Photographers guild panel judge and very well respected photography coach and teacher).

I have developed connections with other professionals in my area and I will work with them on projects in and out of the studio.

We'll share tips and go out to other cities to shoot together or shoot together in the studio.

I'll take myself off to London for the day to shoot and I'll get into the less touristy areas of London to do this. It's a 200+ mile trip each way for me but I'll go to the effort of hopping down for the day several times a year.

The point I am trying to make here is there are always opportunities to learn. I have had to invest time and money into them all.

However, I've learned so much that when I look back it amazes me just how far I've come and what I have learned.

Just as with anything. Improving your skills requires time and commitment.

So to summarise:

Decide what you want to shoot and where and buy the camera and kit that suits that.

Travel as light as possible. Develop your knowledge before spending lots of money on more kit.

Find a mentor and ask them to help you. It might cost you money, it might not, but it's a worthwhile investment. It's massively accelerates your learning curve, cutting down your learning duration by years. If someone told you to learn your current job from YouTube videos and books how long would it take you to become proficient at it? Compared to on the job learning/training, learning from people around who are already experts at that job? It's the same principal when you work with a good mentor. Once you have the knowledge in it weighs nothing and the more you use what you've learned the stronger you become in you're art.

As usual, if this post has been of use to you, please hit the like button, subscribe for more content and fire any questions you have in the comments below.

Speak soon.

Regards.

Neil.

[christhebarker]

Twenty bloody years

Today HR informed me it was my 20th anniversary at my company so in a slightly self-indulgent post here's ten random things from twenty random years. I intended to do twenty but I think it's long enough really.

1 Talent spotting

Standing at the light box looking at transparencies through a loop I spotted a star. It was my first week at Classic FM magazine and that girl was the young Katherine Jenkins making one of her first PR appearances backstage at the classical Brit awards. I demanded to do a cover shoot with her. She was incredibly beautiful and totally charming in real life. Over the three years I worked on that mag I photographed her on numerous occasions , upping the ante every time; borrowing a million dollars worth of diamonds, an Aston Martin DB5 and ultimately a palace for each successive shoot. Over that time I saw her evolve from a little girl, green around the gills into a bona fide diva - never heard her sing though. It was never about that for me. She clearly had star quality. 

2 Tunnel vision

I art directed the McLaren in house magazine for a while. It wasn't a comfortable job - the tobacco advertising ban was coming through at the time and the marketing team were all over everything - so it's quite fitting that that my most memorable experience was pretty uncomfortable too. I had an idea for a cover shoot that I'd never seen done before. For the Monaco issue I wanted a front on close up of coulthard in his car heading for the tunnel with it reflected in his visor. Amazingly they allowed me to borrow his MP4-16, overalls and helmet, but not the man himself. So, being fairly small (DC is tiny) it fell to me to be his body double. Those cars are cramped. I sat for an hour in that tiny cockpit, moulded to his girl-like hips and I could barely walk afterwards. And the visibility, Christ they must get claustrophobic in those things. The rear view mirror was about the size of a cigarette lighter. Makes you realise it does take some balls to go at that speed in those things. 

3 Olympic vision

It's very rare in any non-performing profession to see people enjoying your work in its natural environment but London 2012 provided me with that, among many other unbelievable, opportunities. I had the chance to witness Mo Farah's historic 5000m win at the London Olympic stadium and see Bolt win gold too to boot. But the take home for me was witnessing 100s of people - in the grounds, in the stadium, on the train home - consuming and enjoying my work on the Official Olympic Daily Programmes. You never get that opportunity in publishing, and to top it off there was also televised praise from John Inverdale and Claire Balding on the BBC. And Lord Heseltine told me it was the best thing we had ever published when he came in to the office. A real morale booster at that point when spirits were starting to flag in the middle of sixteen solid days of 6am-9pm (then a break, then the Paralympics too).

4 The royal wee

Sometimes it's easy to take it for granted. The intimate moments with incredible people. I remember turning to the PR as we were sitting in on a rehearsal by the Ballet Rambert as they were perfecting some superhuman feat I couldn't possibly imagine doing and saying "We've seen some things haven't we" and laughing about it. I've witnessed personal performances for me and a photographer alone from some of the greatest classical musicians alive Julian Lloyd Weber running through Bach's cello concerto in his kitchen, James Galway toddling away at something he was learning, but my favourite anecdote is probably when me and Sting took it in turns to sneak into the Queen's private toilet in the royal opera house for a piss. "Well if you're doing it I'm gonna go as well" he said. 

5 Sheffield steel

I accidentally touched Jessica Ennis's backside while adjusting a Union Jack draped around her in a Sheffield steel mill. Which is quite appropriate seeing as they are buns of steel. It was like I'd bashed into a wall, not a person. It was a complete accident and I don't think she noticed but it was quite memorable. Even though at the time I didn't really know who she was, same with Mo a week earlier, who I shot in the world's oldest wind tunnel at the National Physical Laboratory just down the road from my house. No idea who he was at the time. We chatted about a mate he may have worked with at McDonald's I believe. 

6 Have I got awards for you

I've been fortunate enough to win a few awards over the years. We won PPA publication of the year for the Olympics work, my most high profile win was BSME art director of the year earlier this year for Work. magazine but my favourite win was the second of my back-to-back cover of the year awards voted for by a room of my peers on the night. Anyone can win something once with a fluke, but to do it twice was pretty special. It means you must know what you're doing. But what made the Brexit cover win extra special for me was that when I went up to receive it I spotted Ian Hislop, a bit of a hero of mine, sitting in the front row giving me a thumbs up. I got to chat to him after in the green room and I told him I thought he was the best thing about Britain today. 

7 Trouble in Tuscany

There's been a bit of travel over the years. In the early days we would fly out to Germany to show proofs to BMW and Mercedes. Unimaginable now what with PDFs, emails, Skype and minuscule budgets. I photographed a sprinter in Florida, a hurdler in Ostrava... but the most memorable trip was to photograph tenor Andrea Bocelli at his home just outside Pisa. Memorable because it was such a disaster. As you may know he is blind, and his English isn't brilliant so communication was a problem. And the fact that to ease his obvious discomfort with the whole situation he insisted on using props. He left the room and came back in with a trumpet for example, which he insisted on holding in shot for every frame. Then just as we were getting underway someone started cooking pasta in his kitchen and the smell made him wander off. We didn't know if it was over or if he was coming back. Eventually he did and we got a few extra frames without the trumpet but it was such a bad day that when we left and the photographer put a light stand through the hire car's rear light I was like "yeah, that's about right". 

8 High anxiety

Borrowed a helicopter for a shoot once. That was bloody terrifying. Never been in one before. If you've never done it, it's like being in a transit van in the air and whenever they want to turn or move in any way it kind of lurches. You feel like the pilot is only slightly in control and gravity is the real driver. I kept my head down and looked at the pictures as they came in on the laptop, pretending I wasn't there in the end. 

9 Roger that

Seeing a genuine sporting legend at the top of his game is incredible. None of the other sporting events I've been present for in a work capacity - Grands Prix, UEFA Cup Finals, England test cricket - quite match up to seeing Roger Federer take on Andy Murray from the front row at the O2. Before the match I'd been looking forward to seeing Murray's trademark smashes but seeing Federer caress the ball and think five strokes ahead from such close quarters converted me to the tennis legend I had previously thought was a bit boring. 

10 Mercury prizing

As far as I can tell I was responsible for Gomez winning the Mercury Music Prize in 1998. Which is weird because they were up against Pulp and I love Pulp. I was sitting on a table with the MD of Technics - I think, it's all a bit of a blur to be honest - at the awards ceremony and he was really interested in my opinion on who I thought should win. This was just after Gomez had done a storming rendition of Whipping Piccadilly and I think it probably swayed me. So when he disappeared for a bit then came back and told me he'd put his vote in for my favourite I didn't have the heart to say I'd changed my mind and thought Pulp should win. It was a very close run thing as well apparently. Sorry Jarvis.