Ever had an assignment that you needed a light-tent for, say a product shoot – but didn’t have one handy?  Yeah, me too.  I started searching around for some material to put together a DIY one and then it occured to me – isn’t the center panel of a 5-in-1 reflector basically the same stuff?  And already stretched around a nice springy frame too – perfect for an instant light tent.  After a few aborted attempts, I hit upon the following.  You will need

  1. the center diffuser from a full length 5-in-1 reflector
  2. 4 clamps
  3. a piece of matboard (or something else to make a nice sweep)

In short – bend the diffuser so it makes a nice arch, and clamp it to either side of a table.  (best to do 2 clamps on one side, then the other).  use the matboard as a sweep under it, and light as desired.  Voila! instant lightbox  (caveat: not quite as good as a “real” lighbox, but if you don’t have one and don’t want to spend the $$$ for one it’s a good substitute!

here’s how it looks:

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I love stop motion animation.   Particularly when it’s done well (like this piece I posted earlier)

This piece is excellent – creative, well executed and quirky/funny.  worth a look:

Apr 122009

Thanks to the inimitable Don Giannatti for this link.  I just spend the entire morning going through these photos…  This guy collects old cameras with partiall used, never processed film still in them and processes the old film.  Looking at the pictures I find it utterly fascinating.   It truly is a window into another world, but at the same time it is a mirror – reflecting in us so many truisms about people, family, and the passage of time.  These old photos have an inexplicable beauty to me, along with their mysterious history which gives them an air of quiet dignity and an ephemeral sadness at the same time.

Some might just consider them old snapshots, but I think they are wonderfully moving.

Seems like more and more folks are getting curious about film these days – whether it’s new photographers who started out on digital and want to see what the “old skool” is all about, or the old dogs who cut their teeth on tri-x and red safelights coming back to the fold.  I started out shooting 35mm film, then digital, and then medium format film.  I’m not embarassed to admit that when I started with MF the most daunting thing for me was how to load the darn stuff…  I figure there’s got to be a couple of newbies out there with the same question, so I made a quick video to illustrate the process using 120 film and a Holga (cheap, easy, generic).  Apologies for the atrocious production values this was basically me by the window with my G9.   I doan no nuttin bout this here videeo stuff  nohow…

One “gotcha” with MF film is that unlike 35mm, there is more than one way to load it.  Many MF camera systems have slightly different loading methods, but the basic idea is always the same – put in the uptake spool, thread the paper leader into it, wind until the “start” marker, then close it up and wind till frame 1.  easy as pie.  always remember to keep a finger on the film roll when loading or unloading to keep it from unspooling and ruining your roll.  that’s basically all there is too it -  happy MFing!

As a followup to my first “old stuff” link roundup.  Just in case you missed ‘em the first time around, here are some great links that have been sitting in my bookmark folder for some time :-)

Apr 062009

Saw this on the Flicker portrait group, was too good not to share:

By Cheryl Jacobs, out of Denver

These are my thoughts, nothing more and nothing less.

I get asked all the time, during workshops, in e-mails, in private messages, what words of wisdom I would give to a new and aspiring photographer. Here’s my answer.

- Style is a voice, not a prop or an action. If you can buy it, borrow it, download it, or steal it, it is not a style. Don’t look outward for your style; look inward.

- Know your stuff. Luck is a nice thing, but a terrifying thing to rely on. It’s like money; you only have it when you don’t need it.

- Never apologize for your own sense of beauty. Nobody can tell you what you should love. Do what you do brazenly and unapologetically. You cannot build your sense of aesthetics on a concensus.

- Say no. Say it often. It may be difficult, but you owe it to yourself and your clients. Turn down jobs that don’t fit you, say no to overbooking yourself. You are no good to anyone when you’re stressed and anxious.

- Learn to say “I’m a photographer” out loud with a straight face. If you can’t say it and believe it, you can’t expect anyone else to, either.

- You cannot specialize in everything.

- You don’t have to go into business just because people tell you you should! And you don’t have to be full time and making an executive income to be successful. If you decide you want to be in business, set your limits before you begin.

- Know your style before you hang out your shingle. If you don’t, your clients will dictate your style to you. That makes you nothing more than a picture taker. Changing your style later will force you to start all over again, and that’s tough.

- Accept critique, but don’t apply it blindly. Just because someone said it does not make it so. Critiques are opinions, nothing more. Consider the advice, consider the perspective of the advice giver, consider your style and what you want to convey in your work. Implement only what makes sense to implement. That doesn’t not make you ungrateful, it makes you independent.

- Leave room for yourself to grow and evolve. It may seem like a good idea to call your business “Precious Chubby Tootsies”….but what happens when you decide you love to photograph seniors? Or boudoir?

- Remember that if your work looks like everyone else’s, there’s no reason for a client to book you instead of someone else. Unless you’re cheaper. And nobody wants to be known as “the cheaper photographer”.

- Gimmicks and merchandise will come and go, but honest photography is never outdated.

- It’s easier to focus on buying that next piece of equipment than it is to accept that you should be able to create great work with what you’ve got. Buying stuff is a convenient and expensive distraction. You need a decent camera, a decent lens, and a light meter. Until you can use those tools consistently and masterfully, don’t spend another dime. Spend money on equipment ONLY when you’ve outgrown your current equipment and you’re being limited by it. There are no magic bullets.

- Learn that people photography is about people, not about photography. Great portraits are a side effect of a strong human connection.

- Never forget why you started taking pictures in the first place. Excellent technique is a great tool, but a terrible end product. The best thing your technique can do is not call attention to itself. Never let your technique upstage your subject.

- Never compare your journey with someone else’s. It’s a marathon with no finish line. Someone else may start out faster than you, may seem to progress more quickly than you, but every runner has his own pace. Your journey is your journey, not a competition. You will never “arrive”. No one ever does.

- Embrace frustration. It pushes you to learn and grow, broadens your horizons, and lights a fire under you when your work has gone cold. Nothing is more dangerous to an artist than complacence.

Heh.  A bit tongue-in-cheek, but this is a cool video that illustrates the “loss” of information when you save and resave a .jpg (600 times to be exact!)

Generation Loss from hadto on Vimeo.

Apr 022009

I’ve been watching Zack Arias’ series of critiques over at zarias.com, and even though he didn’t critique my site directly, I took a lot of the general points he made to heart.  Specifically he commented a lot on the need to convey a focused vision through your portfolio.  It made me start thinking about my own port, and what I was trying to say with it.  After some brainstorming and feedback I basically tore down everything and decided to redo my portfolios from scratch.  Less of “my own work that I like” and more of “who I am as a photographer”.   I broke down my work into my commercial/editorial work – separated by “environmental” work and “studio” work, and put all my personal work into it’s own section.  I like the “flow” of the portfolio much better now – it still needs some tweaks but, overall I’m happy.   I’m still deciding whether to put in a separate section just for tearsheets, or incorporate those into the regular galleries.(   I also am thinking of doing one of those videos of my physical book (all the cool kids are doing it…)

I’d love to hear some feedback on the new ports -love em? hate em? don’t care either way?  Click on over and let me know what you think…

Apr 012009

Had a quick shoot for a friend/makeup artist to help her get her portfolio started.  Lots of fun, our models Paige and Brittany were great!

A few from the shoot:

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