Month: November 2018

Comic Relief [Encore Publication]: A photo essay of images from SF Comic Con 2018

As a professional travel photographer, I’m at my happiest when I get to seek out new cultural experiences and work with the people I meet to capture their culture in images.  Sometimes this discovery takes place halfway around the world, and other times it happens very close to home.  This weekend I had the opportunity to make portraits at San Francisco Comic Con 2018 of some of the thousands of attendees who portray their favorite comic book characters.  This was my introduction to the culture of “cosplay”, where people dress up as characters and bring them to life through their performances.  Many cosplayers design and make their own costumes, a laborious process, and interpret the characters’ personalities through their acting abilities.  I was extremely impressed by the wide range of costumes, props, and makeup as well as the cosplayers’ passion and skill.  Comic Cons are also fun events to shoot because the cosplayers love to have their work captured in images.

In today’s post I present some of my favorite images from SF Comic Con 2018 in the form of a photo essay.  Note that all of these images and many others from this event are available to view and purchase on my website.  Click on any image to see a larger version on my site.

A few words about how these images were made:

  1. Any convention is a crowded and bustling affair, and comic cons are no exception.  To achieve as uncluttered a background as possible for my portraits, I engaged cosplayers in conversation and then asked them if they would pose in a less crowded area for a portrait.  Nearly everyone said yes, because they are thrilled to be photographed in costume.  I would then direct them to a wall, alcove, or other fairly clean background before starting to shoot.
  2. My gear was very simple.  I shot with a single DSLR body and just one lens, a 24-85mm “walkaround” zoom.
  3. I shot with available light only.  While quite a few photographers in attendance were using flash or even dedicated studio lights, in my opinion that was a miscalculation because the fluorescent lighting in the convention center was challenging to match with a flash.  This situation results in “mixed lighting”, where the subject is lit by lights of very different color temperatures.  It is often unappealing to look at and difficult to post-process.
  4. I used a high ISO setting, a moderate aperture, and a fairly fast shutter speed.
  5. For variety, I captured a range of poses from full-body to half-length to headshots.  I tried to include all of the subjects’ elaborate props.  If they were part of a group, I captured both group and individual portraits.
  6. This type of shoot requires an intensive effort in post-processing.  I adjusted color balance carefully to try to gain a pleasing and accurate tonal range given the unattractive fluorescent lighting under which the photos were shot.  I processed for a “high key” (bright subject against white background) effect so as to render the venue’s ugly walls as true white.  With effort, harsh shadows can also be reduced during post-processing.

I hope you enjoyed viewing these images from my first foray into capturing cosplayers as much as I enjoyed making them.  I will surely be seeking out and shooting upcoming comic cons, as these are among the more rewarding events to cover.

Have you shot comic cons or cosplay events?  Please share your experiences and your tips and tricks here.

Want to read more posts about what to shoot while traveling or near home?  Find them all here: Posts about what to shoot.

Sneak Preview [Encore Publication]: Behind the scenes on my ongoing Human/Machine Dance Project

How does the human body move when interacting with artificial intelligence technologies? This is the question that my collaborator Carly Lave embarks on a year-long Fulbright grant to research. A talented dancer, choreographer, and scholar, Carly will present her research findings in visual form via a self-choreographed dance solo performance. I approached her to collaborate on a photography series informed by her research goals and artistry as a dancer. We explored several visual themes, each related to the timely question of how we humans will be transformed by increasing immersion into advanced technologies, including virtual reality, robotics, and interconnectivity. To complete this ongoing project, we will continue to collaborate across two continents during Carly’s research fellowship. Stay tuned!

In the meantime, I’d like to share a few early images from this work-in-process along with some words about how they were made.  It can be tricky to imagine a visual concept and realize it via photography, and all the more challenging when the concept is abstract like the ones Carly and I selected.  I’ll present four of our initial concepts, each illustrated with an image and a description of the techniques required to execute it.

  1. Virtual Reality Motion Study: Virtual meets reality as Carly’s body floats through the physical world while her motion is informed by her interactions with the virtual world playing inside her headset.This concept sounds simple but is quite difficult to execute photographically.  We wanted to capture Carly’s physical motion in the real world as she reacts to the experience of the VR world.  Images like these require a long time exposure (here about 15 seconds), which in turn necessitates shooting in a darkened photography studio.  I used a black backdrop and continuous LED lighting to illuminate Carly as she moved across the studio, with a single studio strobe light at the front right part of the set to capture her final pose at the end of the exposure.  The strobe was set to trigger as the camera’s shutter closed at the end of each shot (“rear curtain sync”).  Using this technique, Carly’s motion can be traced during the whole exposure but the vivid exposure is what we see last.  Considerable post-processing is then required to clean up the scene.
  2. Interconnectivity: Carly shared, “I found myself visualizing my body wrapped in cables coiled around my limbs and torso. I was thinking about the body in relation to embedded systems here, and how now all of our world is connected through cables either in the air or sea.”To shoot this visual concept, we used a dance studio with a mirrored wall.  Using different angles to obtain a variety of perspectives, I shot both Carly and her reflection as she improvised motion along the wall.  The technique conveys the impression of the interconnectedness between a human and a similar being across a network.  Post-processing was required to remove clutter and render the background as white.
  3. Human (de-)Evolution Series: A whimsical re-imagining of the classic ape-to-human evolution series, this montage asks us to consider whether technology contributes to or detracts from human evolution.This striking montage is actually quite straightforward to execute.  In a photography studio against a black backdrop, I shot images of Carly in each stage of the evolution series and then combined them using layers in Photoshop.
  4. Robotic Motion: Machines often perform the same tasks traditionally undertaken by humans, but the robot’s motion is constrained by its programming. How might the human dancer’s motion become similarly constrained if her movement is choreographed by programming instructions?For this concept, my job was fairly easy and Carly had to do the heavy lifting.  She choreographed movement indicative of robotic motion while I captured a series of images using a studio strobe light and a black fabric backdrop.

I hope this behind-the-scenes peek at my ongoing passion project will help inspire your own creative process.  It’s important to be personally and deeply invested in a project before you begin.  Select your partner(s) carefully and plan thoroughly.  Then the process becomes joyful and exhilarating as you begin to bring your concept to life!

Have you carried out a photography project?  Please share your key learnings–positive and otherwise–here!

Want to read more posts about what to photography while traveling or near home?  Find them all here: Posts about What to Shoot.

 

How Do I Shoot Thee? Let Me Count the Ways! [Encore Publication]: Professional tips for capturing couples

One of my favorite photographic genres is capturing images of couples.  Whether it’s a pre-wedding shoot to make images for use in the couple’s wedding invitations or a holiday or anniversary shoot for use in cards and social media, these assignments are great fun because each is as unique as the couple themselves.  Today’s post is a case study of couples portraiture based on a recent pre-wedding shoot I did for Gayathri and her fiance Abhishek.

Many photographers make the mistake of assuming they need a lot of cumbersome and expensive gear to make professional images of couples.  In fact, in most of my couples photo sessions I use only two DSLR bodies, each fitted with a different fast prime lens (in this case, a 50mm f/1.4 and an 85mm f/1.8), and a set of inexpensive reflectors and diffusers.  A speedlight or two can also be helpful, but for on-location couples shoots there is rarely any need for studio lighting.  Keep it light and simple, and stay open to the special moments that truly show the couple’s distinctive style and love for each other.

Gayatrhi and Abhishek were great fun to shoot because of their distinctive, dynamic, and theatrical style.  With the rental of a tandem bicycle and the addition of a simple floral bouquet prop, we were ready to capture amazing images of the two of them interacting.  A fast prime lens allows quick and easy shooting, the choice of a wide range of apertures to control depth-of-field, and the option to freeze action with a fast shutter speed.

Not all couples shots have to be posed and static.  I love capturing the couple in motion to get a sense of the thrill and excitement they feel by being together.  Here I panned the camera while they rode past to keep sharp focus on the couple while blurring the background.  The sense of motion and tight crop lend this image a dynamic feel.

Get creative during post-processing to lend your images a distinctive look.  Here I retained richly saturated colors for the couple on their tandem bike, while rendering the background in black-and-white.  This juxtaposition gives a magical, Wizard of Oz-like feel to the image.  Gayathri and Abhishek are riding into their future together, bringing all the colors of the world with them.

During all my photoshoots, I like to capture multiple locations (and preferably multiple outfits) in order to give my clients a varied portfolio of images spanning different moods and backgrounds.  Finding a miniature pumpkin patch by the shores of a sailing lake gave us a playful prop for a new series of images.

An 85mm portrait lens set to a moderately shallow depth-of-field allowed me to capture this playful scene.  I wanted the couple to be pin-sharp while the background was slightly soft but still recognizable as a lakeside setting.  Just remember when shooting groups of people that you need a deep enough depth-of-field to ensure sharp focus on all of their faces; for that reason, I don’t usually recommend shooting wider than about f/2.8 for couples or about f/4 for larger groups.

While I may suggest a few poses or ideas to my clients, I’m not a fan of staged poses.  Instead, I like to let the couple interact as they naturally do.  This priceless moment captures their sense of fun and their flair for the dramatic.  A wide aperture allows for sharp focus on the couple while softening the background to keep the emphasis on them.

I always ask my clients to bring a few props with them that represent something they love to do together or reflect their interests.  Because Abhishek is a huge cricket fan, he and Gayathri posed with bats and balls while wearing shirts emblazoned with his name and number.  These kinds of shots emphasize what is unique about the couple.

Remember to shoot from all angles: above, below, front, back, left, and right.  Sometimes the best images are not shot from the conventional perspectives.

If possible, try to include time for the couple to change outfits at least once during the shoot.  This allows for more styles and moods, and provides images that can be used for more purposes.

The grounds of a lovely Victorian mansion provided a great backdrop for another shooting locale after an outfit change.  Both Gayathri and Abhishek have dance experience, so it was natural they would want to perform for the camera.  Whenever the action is fast-paced, be sure to shoot with a fast shutter speed and the appropriate focus settings, and keep shooting continuously to ensure you catch just the right moments. 

I often try to schedule shoots for just before sunset when the “golden hour” lighting is soft, flattering, and evocative.  My favorite technique for portraits is to shoot with the sun behind the couple.  This provides lovely lighting on the hair, a beautiful saturated background, and a relaxed squinting-free pose.  To make this technique work, I meter off the subjects’ faces to avoid their becoming silhouetted, and I often use a reflector to shine some of the sunlight back onto their faces and fill in the shadows.  An assistant can be very helpful for holding the reflector.

Parting shot: This lovely capture was made by spot-metering off the couple’s skin and having my assistant aim a gold reflector onto their faces.  

Do you have tips and techniques for shooting couples?  Please share them here.

Want to read more posts about photographic techniques?  Find them all here: Posts about techniques.

Note: These private client images are not available for purchase.

Focus on Hong Kong [Encore Publication]: This iconic Asian crossroads city offers remarkable photographic opportunities

On our way back home after a few weeks of travel through Myanmar, my wife and I added a two-day stopover in Hong Kong.  While I’ve been to this iconic city many times, this was the first visit in more than 30 years during which I had some time to really explore and make some nice images.  Read on to sample a few of my favorite images.

My wife Mary poses along the lovely Tsim Sha Tsui Waterfront Promenade in Hong Kong.  There are so many images of this stretch of harborside land that it’s a good idea to differentiate yours by including a person, object, or activity in the foreground.  Here, I metered off Mary’s jacket and used a touch of balanced fill-in flash so that both she and the skyline would be properly exposed.

Hong Kong’s take on the Hollywood Walk of Stars features a mix of western and Chinese movie stars. This piece of street photography includes a live human cleaning the mural between the images of Clark Gable and Marilyn Monroe.

Nearly every visitor to Hong Kong takes the Peak Tram railway to the top of Victoria Peak.  But almost all of them spend their entire time atop this hill in the well-known shopping center, the Peak Tower.  We chose instead to hike the 3-mile Peak Loop around the entire summit of Victoria Peak, where we were treated to some jaw-dropping views of the city.  This image was made with a wide-angle lens fitted with a polarizing filter and using a narrow aperture and moderately fast shutter speed.  The circular polarizer should first be rotated to provide its maximum effect, then dialed back a bit to allow some of the beautiful reflections to be included.

Hong Kong is a beautiful city that is at its most gorgeous at night.  To capture this nighttime cityscape without a tripod, I rested my arms on a fence to steady the camera, used a high ISO sensitivity setting to allow for a relatively fast shutter speed, and employed the lens’ built-in vibration reduction feature to reduce camera shake.

On our second day in Hong Kong, we traveled to Lantau Island to gain a different perspective on the city’s past and present. A highlight of the day was our visit to a traditional fishing village, with houses built on stilts.

Hong Kong has had a severe housing shortage for centuries. In a modern attempt to alleviate the crunch, city planners have been building huge housing developments in the New Territories, like this complex on Lantau Island.  I shot the housing complex from a cable car from the Giant Buddha statue in the mountains down to the harbor.  I used a long telephoto lens to frame the structure in such a perspective as to show its interesting textures and patterns.  In post-processing, I converted the image to black-and-white for a graphic arts look that emphasized the recurring patterns, increased the contrast, and adjusted the color curves to make the image pop.

Hong Kong is a world-class dining destination.  On our last night there, we dined at the two-Michelin-starred Cantonese restaurant Yan Toh Heen.  In my food photography, I like to include complementary or contrasting elements, so in this composition I included both the crispy barbecued duck and the house signature cocktail, complete with gold leaf adornment.  The color palette is similar between the two elements, but the textures are very different.  I prefer not to light food images with flash because the color balance imparted by the flash unit is often unappetizing, so this image was made using available light only, with a fairly wide aperture setting to soften the background and a medium shutter speed to allow hand-holding.  To learn more about my approach to food photography, see this post: Post on Food Photography. 

All of these images and many more are available to view and perhaps purchase on my website.  Simply click on any image here to visit the full photo gallery.

Have you photographed in Hong Kong?  Please share your stories and tips here!

Want to see more posts about wonderful travel photography destinations?  Find them all here: Posts about destinations.

Brave New World [Encore Publication]: AI tools for photographers are improving

As a working professional photographer who also spent nearly 30 years as a technology manager/executive, I’ve long had an interest in the intersection between art/creativity and technology.  Recent attempts to marry photography with artificial intelligence have ranged from useful (facial recognition) to silly (Instagram filters) to hype (an expensive camera that several days after you shoot sends you only the images it deems worthy).  But as pattern matching algorithms improve and machine learning becomes more reliable, we are starting to see some amazing applications at the intersection of AI and photography.

I’ve recently been playing around with two good examples from Adobe.  Available only in the online version of Lightroom as “Technology Previews”, these tools enable you to search all your images for specific attributes and to have the AI automatically select what it determines to be your best photos.

To activate these new tools, go to https://lightroom.adobe.com, log in using your Adobe Creative Cloud credentials, and then click on the Lighroom logo in the upper left and select “Technology Previews” from the drop-down menu.  Click the check box next to “Best Photos”, and you’re good to go.

There are two main tools available at this time:

  1. Intelligent Photo Search: This is already very impressive technology.  You can search all or a subset of your images using any natural language term you want.  You could, for example, search all your images for photos of cats, or of mountains, or of dancers, or of waterfalls.  The more specific your search term is, the more accurate the results are likely to be.  When I searched for “waterfall” or for “dancer”, the AI seemed to get many or most of my photos featuring those themes, and only occasionally did it include photos that did not feature those themes.  When my search terms were broader, like “clouds” or “mountains”, the results were less accurate.  Aesthetic searches, say for the color “blue” or the effect of “motion” resulted in mostly accurate selections of images featuring these concepts.  While there are a few false matches, and likely quite a few more errors of omission of images that should have matched, this technology is quite useful in its current state.
  2. Best Photos Selection: This one is more of a work in process.  You can select any of your online galleries and ask the AI to select what it “thinks” the best photos are.  You can move a slider to increase or decrease how selective this tool is.  As a default, it shows you its picks for the top half of your photos, and then you can refine the selectivity to include more or fewer photos.  I tried this advanced technology using several of my recent photo galleries.  In most cases, it included my two or three favorite images in its initial selection of the top half of all the photos, but dropped them from its cut as I increased the selectivity.  In one gallery, for example, an image that was recently selected as a favorite by the editors of “National Geographic” was dropped by Adobe’s AI in the first cut of 10% of the images.  That image was quite artsy and abstract, and it’s not reasonable to expect that a machine could choose it as special.  Yet in another of my galleries, the AI included an image that recently won a major local competition in its final cut of just 1% of the images.  That image is a more traditional landscape that could reasonably be evaluated by a machine as a “good” photograph.

The bottom line here is that the applications of advanced technology to the art of photography are improving at an astonishing rate.  While neither of Adobe’s AI tools is as good as a human artist at selecting images by their features or their quality, both tools are off to an impressive start and one of them (Intelligent Photo Search) is already very usable.  I would not be surprised if, in a year or two, this technology advances to the point where machines can be making decisions about photography along with humans.  Both human and AI evaluations will have their strengths and weaknesses, and I can see them coexisting for the foreseeable future.  I recommend we all, as photographers, get steeped in this advanced technology and prepare for a future in which man and machine will both play a role in sophisticated evaluation of images.