Do You Make Lighting Diagrams? You Should.
I am not going to pretend like I am in-tune enough with the physics of light to draw up lighting diagrams BEFORE a shoot. However, with almost every single image I create I draw a lighting diagram, usually after the fact. It's one of the most important things you can do as a photographer who works with off camera flash.
The process of lighting a shoot is fluid for me. It generally begins with a concept and a rough idea of how it will be lit. This is almost always just a jumping off point. The quality of light may not be how I imagined it, or there might be other factors influencing the light in a way that I didn't think of. So I adapt to the result that I am getting and make adjustments until I get what I want.
Once I have an image that works with what my initial vision was, I take a few minutes to sketch a light diagram.
A page out of one of my books of lighting diagrams and notes from projects past.
I consider this a very important part of my process. It helps me analyze what worked, and frankly helps me remember how a shoot progressed. I often include notes about how the shoot went, where my light power levels were, what the sun position was (even if it didn't figure into my image). I also sometimes include stuff that should be included in the EXIF data, such as lens, camera body, etc. I do this because sometimes meta data gets stripped, or other bad things can happen and it takes only a second to write it down.
I think most importantly I do it because I like having a visual record of my work (aside from the actual images) that has some technical behind the scenes information, and also I find it therapeutic to write them in a notebook. Like with a pen. Low-tech to be sure, but oh so satisfying.
This is a practice that I recommend to any photographers, amateur or otherwise, who aren't in the habit of doing it. My notebook of choice is the Field Notes Brand 48 page Graph Paper Memo Book. I don't try to hide that I am obsessed with this brand. Mainly because they're wonderful, but also because they are small, so they fit in any bag. They are durable, and I adore the design sensibility and philosophy behind the brand.
Field Notes. The best memo books around.
So do you make lighting diagrams? If you don't, I think you should. It will help your creativity, critical thinking and possibly be a source of inspiration for future work.
Relevant Links
Field Notes Brand - The best memo books around
Strobox - A really interesting online diagram/photo sharing tool for photographers
Also read This Article on taking notes
Accessing Your Analytical Side
After my last semi-rant post about how geography impacts one's ability to be creative, I thought it would only make sense to follow it up with a post about accessing your analytical side, for the purposes of improving your process. For this post, I'm going to talk specifically about the Microsoft Office program Excel.
If your goal is to work as a product photographer either full time or as a freelancer, chances are you are going to run into an Excel spreadsheet. It might be a printed hard copy, or a digital file, but it's still a spreadsheet. This spreadsheet will serve as your shot list, and hopefully contain everything you need to name your files according to what the production team needs.
If they give you a printed copy, you COULD spend a bunch of time typing file names it, but that gets a little exhausting, especially when shooting a line of athletic shoes, where the files names could look like this:
221X800532Y-001-BLACK-WHITE-GRAPHITE-LIGHTNING-GREY-YELLOW
This can get a little old when shooting 50-75 samples in a day. But there is hope! If you are willing to take a little time to learn how to use Excel and a few basic functions, you can make yourself a digital shot list, from which you can create your file names and copy and paste into your capture program (which for the purposes of this article is Capture One, and really thats what it should be anyway).
The list you received might look something like this:
For the purposes of this article, the production team needs the images to be named: Style Number-Color
So we have our sample list, and we know that production needs the images to be named with the style number and the color, so like this: 1442-TAN
We COULD type that in manually, or we could learn a quick formula to auto create our image names so we just have to copy and paste into Capture One.
A pretty simple formula to create the image name you need looks like this:
The formula you can use to create the image name you need
Basically Excel works with formulas that allow you to reference parts of the spreadsheet and use the content in the cell referenced. So what this formula does is takes the content of cell A6 (note the row and column designations) then with the "&" sign you are saying to add the following into the formula. You put your dash in quotes to show that you mean to add the text "-" and not a minus sign, then the content of cell C6 which is the color name.
This is what you end up with:
The result is the image name you need for Capture One.
Now all thats left is to copy and paste the image name into the "Next Capture Naming" field in Capture One, and there you go. Over the course of the day, you will save yourself the time of manually typing AND your names will be accurate to your shot list, no typos.
This might be a little over the head of a person who has no prior experience with Excel at all, in which case it would be worth checking out any number of Excel 101 tutorials online (like this one).
Once you have your shot list with all your image names worked out, you can do a lot with the list to help manage your workflow and give you some insights into your workload on the fly.
Hopefully this is helpful to some. If so, and if you'd be interested in more posts like this, send me a message, or leave a comment.
Where does creativity live?
I am about to editorialize about something that has plagued me for years. It's something that I think everyone in Southern California and NOT in LA has to deal with, and people probably deal with it in other parts of the country too. I am talking about the perception of regional creativity, or more accurately, the ability of a person to be creative when in a given region. The stigma that my hometown of Riverside, CA suffers from, as well as the surrounding areas, is that we AREN'T Los Angeles.
For the record, Riverside was never LA, nor was it ever a "suburb" of LA. Riverside was founded as it's own city by John W. North in 1870. Riverside has it's own history steeped in heritage, art and culture. But I digress, I don't want this post to be about whiny hometown pride.
The point of this post is this: The idea that YOUR creativity is connected to your location is ABSURD. Let's also get this out of the way: Yes there are areas that might have more resources, and yes there are areas that have more jobs available, that's just common sense. More populated areas typically house more businesses and so there is more work to choose from. Does that mean anything in terms of the creativity of another cities residents? Absolutely not. These are simply amenities.
Creative people can be creative anywhere. It matters not where they live or in what building they work. I don't want to downplay the value of an aesthetically pleasing workplace, especially for visual people, but the fact remains: creativity does not live in a building. Nor does any particular city have a monopoly on creativity. There are creative directors and artists out there who will tell you otherwise, but it's a bald faced lie.
My stated goal as a photographer, and a visual artist, is not to flee my hometown and work in the "big city" but to bring the work to me, where I want to be, and show that the artistic world is at least a little bit bigger than LA and NY.
Photo Studio Challenge - Portrait of a Loved One
A couple of weeks ago the team of photographers, stylists and support staff that I work with kicked off a bi-weekly studio-wide photo challenge (images were posted here). Every two weeks we pick a theme and each person can shoot an image that relates to that theme.
This week our theme was: A portrait of a loved one, without showing them in the image. So in other words, an object, person (other than the "subject" of course) or place that reminds you of that person.
Here are the results!
Ashley Paulus
Product Stylist Ashley Paulus photographs her parents wedding rings with her iPhone and natural light.
Bonnie Warrington - BonnieWarrington.com
Photographer Bonnie Warrington shot this still life with her DSLR ann Natural Light. These items represent her boyfriend Scott.
Dani Alvarez
Product Stylist Dani Alvarez shot this still life of items representing her beloved dog Schmoopie
Daniel T Jester
A Glenfield Model 60 just like the one my Grandpa took me to shoot when I was a child.
Dave Uzzardi - DavidUzzardi.com
Dave Uzzardi's submission to the challenge, a subtle and somewhat abstract image where the subject slowly reveals itself to the viewer after some time.
Emily Wilkerson
Product Stylist Emily Wilkerson shot this antique rocking chair that has been in her family for years. t's a reminder of her grandparents.
Karen Utley - KarenUtley.com
Photographer Karen Utley shot this still life in remembrance of her mother
Karyl Alvarado
Studio Coordinator Karyl snapped this shot of a song her and her grandmother played together during their short meeting before her grandmother had to head back to the Philippines.
Kimmy Ann Snow
Product Stylist Kimmy Snow set up this shot of her Father In Law's dog tags and ashes. She never met the man, but he is an important part of her husband life, and feels a connection.
Lindsay Barker
Product Stylist Lindsay Barker shot this still life installation that represents friend from across the country that she has made in her life.
Vanessa Celotto - StyleeGrace.com
Stylist Supervisor Van Celotto snapped this to represent the staff of the studio as her loved ones. Awwwwwww.
Vivian Nguyen
Product Stylist Vivian Nguyen styled and shot this still life that represents her mother who lives in Seattle.
As you can see, the turn out for this weeks challenge was BIG. It was so exciting to see how everyone interpreted the theme and what they submitted. Stay tuned for the next Studio Photo Challenge, where the theme is Food.
What's in my Bag - My Everyday Photo Kit
My everyday photo kit. A small but powerful kit that is perfect for everyday carry and can net you some solid results on the fly.
I carry a bag every day, where ever I go. As a photographer, I like to always have the tools I need to get that quick candid moment, or snap that impromptu portrait wherever I am.
When I purchased the Fujifilm X100s, a lot changed for me as a photographer. One of those changes was my realization that most of the camera bags I own are not at all aesthetically pleasing to me. Way too much black or grey nylon and little to no personality. So I began the search for a new bag. I settled on swapping out my camera bags for two seperate Domke bags. The one shown above would be my everyday bag, and another larger bag for bigger jobs requiring more gear.
I have now settled on a small, but very powerful everyday photo kit:
Domke F-10 Medium Shoulder Bag in Rugged Wear finish
I adore this bag and this finish. The bag is solid, durable, exactly the right size for me, and looks great. In addition to this bag, I bought a larger messenger bag when the job requires more gear, so I have matching bags that look awesome, for what that's worth.
Fujifilm X100s
There is not a lot I can say here that I or others haven't already said. I love this camera and carry it every. single. day.
LumoPro LP180
This flash is everything. I recently bought 2 more, in addition to the this one AND the two LumoPro LP160s I have. These flashes are powerful, consistent, reliable, versatile, and inexpensive. Almost everything I shoot is with a LumoPro flash.
2x Pocket Wizard Plus III + Sync Cable
Carrying these in my kit offers me two sync options: Via optical slave triggered by the X100s' on camera flash, or with these radio triggers.
Inexpensive Two Sided Reflector
Purchased from amazon.com, silver on one side and white on the other, packs up just small enough to fit in the bag. An essential part of this kit.
Batteries and Memory Cards
In the bag is a small CaseLogic wallet for carrying memory cards and spare batteries.
Field Notes 48 Page Graph Paper Memo Book + FN Pen
I am completely and totally addicted to Field Notes and their products. I carry at least one notebook with me everywhere I go, and I have multiple books filled with lighting diagrams, notes, and concepts for future projects.
Odds and Ends
No kit would be complete without a pack of gum, business cards, Advil, tweezers, a pocket knife and a bongo tie.
Not Pictured
Although I don't carry it everywhere per se, I always have a light stand and umbrella nearby, generally in my car. You never know.
Examples
These are the kind of results this kit can get you
Shot with the Fuji, LP180 flash and reflector
Shot with the Fuji, LP180 flash and reflector
Shot with the Fuji, natural light.