The Peterborough Artists and Artisans Portrait Project has come to the halfway point.
Well, a little more actually. This week I will be shooting portraits number 29 and 30 respectively. Again, as I visit each work space I am greeted with a new and fresh challenge. Each space is different in shape, size, lighting, colour, equipment density. I think that is one of the reasons that I enjoy the project actually. The challenge to create an interesting image time and time again.
For example. The image above is in a century old home where painter Patrick Fitzgerald works his craft. The great thing about this space was that the rooms are broken up into spaces that can be independently lit. I stood in the hallway in a fairly dark space and looked at Patrick in his painting room. One of my flashes partially illuminates the painting close to camera, and another pops through a white umbrella to illuminate the painter and a bit of the space.
Did you notice his friend?
A while ago I decided to not show any more of the successive images, save for a couple teaser portraits. Now that people have got a taste for the work through my Facebook page and this website, fans will have to come out to the print exhibits to see all of the new images. Who knows, you might even get to meet your favourite artist/artisan at the same time.
Be sure to watch the Facebook page to see who I've got lined up for a portrait session next. Visit Facebook and type: @peterboroughartists in the search bar.
Youtube has a good number of videos illustrating the benefits of both speedlights and strobes. Enough to make your decision as easy as pie and clear as mud. I'm not going to bother making yet another video. That would probably only contribute to the murky and muddy waters. I'll let you decide what works best for your type of shooting and budget.
What I will do here is help to divide the two types of lights even further apart, so as to assist you in clarifying which would be better for your particular situation.
Speedlights, or hotshoe flashes. Used on the camera body or off have a number of benefits. The first is that they are in general much smaller than a studio strobe. I would also venture to say that they are considerable less expensive, but not always.
Another benefit is that they are flexible in that their small size allows them to be mounted, hidden, tucked away in interesting places in order to illuminate the scene as desired without too much trouble. For example I have taken to wrapping my SB900 with an industrial twist-tie and attaching it to a tree branch when required. Not easy to do with a studio strobe.
Speedlights run on batteries, and therefore don't require a cord to be plugged into a wall outlet or generator. Speedlights have a plethora of accessories including colour gels, diffusors, light shapers, reflectors and more. They can easily be mounted on a low-weight light stand and coupled with a number of different light modifiers. They can be ganged together in infinite groups to create a wall or tree of light if necessary. All triggered by one trigger. If one fires, they all do. Just make sure you have enough batteries. I love my speedlights. I use both the Nikon SB600 and SB900 almost every time I shoot portraits or still-life images.
Talking about the studio flash, or flashes that do not have a hotshoe mount, such the speedlights do means talking about larger lighting units that put out considerably more power than speedlights. In that circle we have brands such as Elinchrom, Profoto, Speedotron, Balcar, Bowens and others.
They do have a number of benefits to the studio and street photographer.
Benefits such as: high power output, fast recycle time, some have modeling lights at more.
Some models are strictly battery powered while others require a cable connected to a power source in order to operate. Profoto for example have two lines of flash, one of which is a self-contained battery powered flash unit and another that is AC powered.
All of these lights have a huge variety of lighting accessories. Some brands less expensive than others.
Most of these brands have long pedigrees, such as Elinchrom and Speedotron.
I was a happy Speedotron user for a number of years, but I jumped off of that bandwagon when I came to the conclusion that the work I was doing didn't justify carrying the heavy power pack that always relied on a power outlet. In fact I think the catalyst was when on a shoot for a woodworking magazine, and the electricity went out for half the city. We had to reschedule. Needless to say, I quickly secured a couple speedlights for the next day's shoot, just in case.
Studio lights have a lot going for them over speedlights. They also have a few draw backs.
First and foremost, they are powerful. If you need to light a large group, studio lights are probably your best bet. They will cover the group with power to spare.
On the negative side of the argument, they can be heavy and take up much more space. Not great if you have to travel any distance or carry your gear. They also tend to be rather pricey. Looking at a nice Profoto 2 light kit? Plan on spending between $2000 and $3500. Of course if you know that you will need that power, it might be worth the investment. Counter that with a simple 2 light speedlight kit at about $600 to $900, and you find yourself truly looking at your lighting needs very closely.
When it comes down to lighting, it is a personal decision based on finances, intended use and the style of lighting. Weigh all of these factors together to come up with your ideal lighting kit.
You might also keep in mind that rental houses are usually available to fill out that requirement in a pinch, but remember to keep your credit card usable.
As a member of a number of photography related groups on Facebook, I often read questions from people new to photography about their confusion in the technical aspects of shooting great photos. (not "captures", I hate that term).
So I've been playing around with the idea of producing short instructional videos that dive into the process of producing, shooting and editing images directed at the newcomer to this wonderful experience.
Obviously my workflow will differ from some people's, but that is expected. That's not the point. The point is that I can help to clear the air in regards to the methods that I incorporate as I go from idea to execution and final image. People can then take this knowledge and apply it to their own experiences.
I have a feeling that I know how I would go about it, but I'm not clear if there is any serious interest. Do I have competition? Yes. Youtube is flooded with "how-to" videos that tell people how to set up a camera, edit an image and all sorts of things. But is there a succinct video that shows the entire production in a clear and concise manner. Perfect for beginners. Simple, without an emphasis on any one gear manufacturer. Something that both grandma and the 5th grader could use.
What do YOU think?
BTW, did you know that I am now on Instagram? Yup, @picsmiketaylor is my Instagram handle. Check out the gallery there and let me know which images appeal to you.
Buying original Canadian art work doesn't have to be a difficult experience.
What it does involve is a bit of leg work, asking and listening. And relationships. In my particular case, I was able to pickup a couple of original pieces by a local artist simply by getting involved with the local studio tour that runs every year in my area.
We visited a few of the studios, talked with the artists and decided if after seeing the art work in person that we either wanted to own a piece or to move on. I picked up 2 small pieces that inspired me. I smartly stayed within my budget and didn't compromise by buying something that was economical yet didn't appeal to my visual tastes.
Ultimately, buying art is about appealing to your sense of artistic taste. One person's Mona Lisa is another persons velvet Elvis painting. If it doesn't make you feel positive, you probably won't like it hanging in your home.
Take this picture for example. A study on minimalism and pattern. To some this might appeal as being a cool-toned work that evokes a feeling of calm. To others it might be lacking excitement and a full colour spectrum. It all comes down to what drives the viewer. What makes them light up inside.
I find that I tend to notice simple compositions such as this more and more. Some of my print customers have a similar sense of design and give images with this sort of design philosophy high marks. Sales are going well.
Buying original Canadian art can be a pleasant and thoroughly enjoyable process. But it takes time. Look at a wide range of work and decide on what appeals to your visual taste and what lies within your budget.
So I had this idea....
A while ago I thought it would be cool to photograph a drummer in such a way that clearly illustrates just how active and dynamic he/she is behind the kit.
Yesterday I finally got around to fulfilling that intention. I met up with Erik in his home practice/recording space (ie, his basement) and we got down to some musical and photographic business for a couple of hours.
The weird thing is that I had gone in with some preconceptions, some plans of how I was going to go about this to make a "lovely portrait of a drummer". About 20 minutes into setting up my gear and arranging the drum kit and other stuff just right, I tossed my plan of attack and went rogue.
The resulting images were derived from my planned lighting technique combined with a blurring technique I had read about somewhere long long ago. I think that the images accurately capture the dynamism that is a drummer going full throttle into a session.
Moreover, the green cap adds so much as it makes him just pop out from the warmth of the surroundings.
Here's the tech stuff:
Nikon D800 hand-held, shooting at 1.5seconds, about f11, iso 280.
A single Nikon SB900 flash on a stand to camera right, tethered to the D800.
The flash is set to "repeat" mode, shooting 4 blasts during the exposure.
To camera left is another lightstand with an old-school hot light (Mole Richardson - Mini Mole) set at narrow spread. It puts out about 250watts of tungsten light.
The tungsten light makes some of the scene register through the 1.5 seconds, while the 4 pops of the flash capture 4 instances of movment.
On top of all that, as I exposed the scene, I either zoomed the lens in or out.
Lots of unpredictable fun.
It is my understanding that we will be gathering again in the future with the rest of the band. I may need some ear plugs.
I enjoy shooting custom homes. There, I've said it.
Especially when they are carefully designed and decorated by talented professionals. The other day I was out in the woods (literally) shooting a project completed by Harold Kidd and his company, recently decorated by Bonnie McQuarrie of Bethany Hills Interiors.
What a pleasure. This is the kind of project that I don't mind shooting on short notice, or for a cut in my regular rate. Take a look through the Gallery page to see a few of my custom home images. Get inspired. Do you have interest in shooting interiors of beautiful homes, but don't know how to start? Drop me a line and I'll hook you up with some knowledge bombs.
I recently came across an article on the site www.nngroup.com from 2010 that went into detail about the value of the proper kinds of images for a website and how it can have a serious effect on the success of the business.
One of the most interesting statistics in the article said that: "users pay close attention to photos and other images that contain relevant information but ignore fluffy pictures used to "jazz up" a website"
The writer is Jakob Nielsen of the Nielson Norman Group and he has done a stellar job of making the reader understand the mindset of website visitors and how images play a big part in how they deal with a site based on its images.
Fill out the form and I will send you the article right away.
A 2012 study done by Chen Tan at the University of Nevada, Las Vegas has opened the eyes of those in the hotel industry as it reveals how important a hotel's website is when it comes to the number of clients it can book.
Excerpt: "A simple measure such as including pictorial elements significantly raises the average part-worth utility". In other words, using clear attractive images of the various areas of the property increases bookings.
It goes on to read: " An interactive area: this provides clients with insights about the destination....This increases the chances of a booking by the visitor"
This is a detailed and valuable study that examines the reasons behind why a professional website with professionally produced content is essential for anybody operating a hotel, resort or even a bed and breakfast. I have taken the liberty to make this study available for you. Simply complete the form below and I will send it to you immediately.
I have a feeling that some folks who visit the site are a bit confused about the direction of my work.
For a while I had a few pages of personal projects alongside the gallery of my commercial/editorial work. While I could see that this format would be useful for a specific type of shooting, I'm of the opinion that some simplification would help in digesting the different types of work.
Solution? Simple. Build a new website for the personal projects.
Today I have a new site called www.themusicmakersportraitproject.weebly.com .
On this site visitors can see that work I am doing to honour the makers of fine musical instruments in Ontario. Please take a peek. I'd appreciate your opinion. Oh, and be sure to stop off at the links page to learn more about these amazing people first hand.
The Music Makers portfolio project as it stands is a multiple month long endeavour. At this point I have 10 completed with another 2 confirmed participants.
July and August are looking positive for being able to complete a few more of the location shoots. It's been fun. Meeting these extremely talented and devoted craftspeople is such a pleasure. Sadly, the majority of them are located far afield from my home in #Peterborough. Learning of their individual ordeals, their multi-faceted paths that they travelled to get to where they are in their respective careers has been such a joy.
These people need to be recognized, acknowledged, appreciated and promoted. It's good for them, good for Ontario and good for the country. This project is about celebrating talent and passion. Each of the participants deserves all the praise that comes their way. If I can introduce each instrument maker to a new client by way of my image, then the effort this project involves will be completely worth it.
I am determined to travel to as many of the workshops that I can, no matter where they exist in Ontario. Keeping it a completely cost-free involvement for the participants is important to me. There should be no barrier to taking part. None at all. Positive benefits, that's what each maker should see when they consider taking part. These images are created to put them in a most splendid light. To show them as revered individuals. As they are.
At what point will I consider the project complete?
That is a great question, to which I still don't know the answer. All I do know is that this is a project that will have more than one component. The first part being the completion of a portfolio. After that, there could be a show of some sort, a publication or perhaps a joint project. This is all speculation and remains to be seen at this point.
One need only stay tuned to see how this crazy thing develops and transforms.
Currently I have 9 more potential #portraits to do.
Photo-Artist working a personal vision.