Archive for 'Editorial Photography':
Tom Junod is a writer for Esquire Magazine and is quite well known for his article, The Falling Man. I photographed Tom in his home office in Atlanta as a continuation of authors and writers photographed in the space where they work.
Here’s a list of ten great articles by Tom. I appreciate Tom being patient with me as I continued to work on my stitching techniques while shooting his portrait. I didn’t want to go into this project using wide angle lenses so I stitched several images to create the first two images above. It’s a slow process that requires a bit of patience from my subject but the resulting image is worth it at the end of the day. I particularly love the B&W image of Tom above. On a commercial shoot I would have moved things in the background to get his head in a cleaner spot but since this is about the space and place where he works I did not want to disturb a thing. I worked this angle, that angle, another angle and no matter where I could get my camera, there was something in the background to deal with. I stopped worrying about all that and just concentrated on finding his best angle where he was most comfortable. At the end of the day it is more important to let your subject shine and give up on a few of your own rules now and then as long as the resulting photograph is honest and true.
Photographed for Atlanta Magazine.
Glad to see Rock and Roll is still alive and well. I’m so tired of contracts, forms, handlers, and lack of access to balls out bands like Born of Osiris. I’m also happy to report that every single person from the band to the crew were some of the nicest and most genuine people I’ve worked with in an all access situation like this. They trusted me and set me loose without any restrictions. That’s how Rock and Roll is supposed to be. My night with Born of Osiris was a night to remember.
Shot with a Fuji X-Pro1 and a 14mm lens with a handheld LumoPro LP180 flash.
Shot for Revolver Magazine.
The images were shot to illustrate a story on authors and their spaces. On the technical side of things, these were shot with a Phase One medium format camera and are stitched panoramas. Each of the photos above were stitched from nine to twelve individual images. I love the perspective and field of view this technique gives me and I’m doing it more and more these days. My clients love them because the resulting image typically outputs to 60 inches on the longer side at 300 DPI and gives them A LOT of room to crop as needed since there is more resolution than anyone in their right mind needs. It’s a slower process but it’s worth it.
I was hired by Harvard Business Review to photograph Muhtar Kent who is the CEO of The Coca-Cola company . I thought I’d post about the process of an editorial shoot from start to finish instead of just showing the photos.
The art direction for the shoot was to photograph Mr. Kent at the headquarters building in Atlanta. The editor asked for two portraits. One was to show some architectural details of the building. “Maybe with a bank of windows or something in the background.” The other shot was to incorporate something with Coca-Cola branding. The name, the Coca-Cola red, a bottle, etc. After that I was free to grab anything else I had time to which, on a job like this, means anything I can grab with the extra thirty seconds I have to work with. An editorial shoot is usually a few hours of standing around and a few minutes of taking pictures. You’ll regularly spend more time emailing with the editor then you will clicking the shutter release of your camera. I was also instructed that while they wanted a mix of vertical and horizontal images, they used a lot of square crops as well so the images needed to work well 1:1. The full process after the jump.
Big thanks to Heather Hamilton for tweeting, “The overload of photography rants r getting on my nerves. While I agree with some , I just think our time can be better spent. Like shooting.” There’s been a flurry of new gear announcements lately and I’ve been guilty of talking about gear this week instead of using gear this week. Michael Friberg pretty much summed it up well. Heather was the voice (twoice?) I needed to hear today to fire the Internet, get off my ass, and go shoot. Isn’t that ultimately what it’s about? Thanks Heather.
I saw the gentleman above through the window and had to, had to, had to, get a portrait of him. Everyone was more than willing to let me photograph them today. No one turned me down. Must be that big ass camera. Today was a good day.
“I’m an inventor and I also can rap my ass off. I need a good manager. Danny East. Tell ‘em not to bury me!!!”
Hell yes. I love to see hustle in all shapes and forms.
These street portraits were all shot with the Phase One IQ140. I am still learning this camera and going out on the streets and working in various lighting conditions gives me a good idea of what it can and can not do. I do miss my x100 though. (It’s in the shop) [sticky aperture] poo.
I’m currently on a 22 hour layover in Paris. I’m on my way home from Istanbul. I was sent there by FujiFilm to give the new x100s a run for its money. I am working on a full review of the camera but until I have that up I’ll be making a few posts with photos.
I was having a beer at a pub a few nights ago and I heard an explosion of chants and cheers from around the corner. I had already been on the streets for about 10 hours that day and I was just trying to steal a moment of solitude and rest in the pint glass of a Guinness. The sounds I heard though made me grab my stuff (including said pint) and run to see what the deal was. The “deal” was football.
Galatasaray (Turkey) beat Schalke (Germany) that night and advanced to the quarter finals. What that means to non sports people like myself is that sh!t went crazy.
As all the fans poured out of every bar they were singing, and chanting, and lighting flares. I was caught in a mob of thousands of people and not once… not for a single frame… did I wish I had another camera with me. Not once did I curse my little x100s. It did what I needed it to do. In the middle of all of this it clicked in my brain.
Fuji is the new Leica.
I’ll talk more about that in the upcoming full review of the camera.
I’m on my first day of a five day trip with the brand new Fuji x100s.
It’s no secret that I fell in love with the first edition of this camera. I called it the greatest digital camera ever made. It has it’s “quirks” for sure but I love that camera dearly no matter how much of a pain in the ass it can be.
The new one? The S? Well… I can’t give a full review yet because I’m still putting it through hell on the streets but let me say this…
They did it. It’s the greatest camera I’ve ever owned. No. Freaking. Joke. It’s perfect. I wouldn’t change a thing.
More to come when I get home.
Fuji X100s :: 2.8 @ 60th ISO 200
You may have heard me mention the Quiet Hounds before. That’s because they are one of my new favorite bands. I’m fortunate enough to know these five fine fellows and I recently tagged along on a video shoot of their’s to shoot some stills. So these aren’t quite “behind” the scenes. More to the side of the scenes. 7am call times suck but then you see the light and it makes it worth while.
Funny story. I was shooting that early morning light (as seen in the first photo of this post) and had to grab it quickly as the video crew was needing to get their shot. Just before I ran out of the way I snapped a shot with my iPhone to put on Instagr.am. The band liked that shot so much I thought they had used it for this cover. Upon further inspection this evening I can see where they actually used part of one image shot with my IQ140 and part of my image shot with my iPhone. That… is funny. There will be another post at some point featuring a full shoot with Quiet Hounds. For now, check out their new song “Beacon Sun” and see the video on their site. Also, if you are in ATL on November 17th be sure to catch them live at the Goat Farm. Their live show is amazing.
Yesterday was an amazing day. It was the kind of day that I got to do everything that I love to do. First, I got to shoot a new artist named K-B. I love working with emerging artists of all genres but hip hop is one of my favorite genres to work in right now. I’m really immersed in hip hop these days. I can’t release the cover images we were working on but here are a few press shots.
While this was all going on I had a camera trained on me. I had the honor of having Jonathan Lees from Complex Magazine come down from NYC to do a profile on me. Jonathan said he wanted to do a bit of an interview and then hit the town for some street photography. I was hoping we could show a New Yorker that shooting on the streets of Atlanta can be an adventure. Atlanta did not let us down.
First we got hassled by some GSU police officers who claimed they had jurisdiction off campus. We were just walking around shooting some photos and video and we were told we were loitering. We were not loitering but the cop was persistant. So we were persistant. He said we could tell it to a judge. I asked if he had jurisdiction there. He put his hand on his cuffs and gave me the “do you really want to find out if I have jurisdiction here or not” kind of look. We moved along.
This is Unknown. He told me to check out his music at unknown.com. That web site is lacking raps. He was quite the character. He may or may not have been just a bit under the influence of a controlled substance.
I went on down the street and came across this lady and her three adorable kids. As I was trying to find my frame on them, this guy comes running up on us and starts screaming that I’m trying to take pictures of the lady’s backside. Well, I mean, I was technically but that was not the subject of the photograph. This dude was pissed and got in my face. Quivering lips and clinched fists in my face. Jonathan dropped his camera and flanked him to the left, Dan was at his back, and he was right in my face. I held my ground and he finally went on his way. Here’s the family.
Then I started to find my frame and was just waiting for the girl to peek back at me. Just a move to the right and a bit of a left dutch and I could have framed her between that white line and the curb, got her sleeping brother, and balanced her with the fire hydrant… Oh well. From the guy’s perspective I’m sure I looked like I was up to something naughty.
Didn’t get my shot. But I also didn’t get shot. So you take the good with the bad I suppose. Moved on down the street and interacted with some great people. I’ll save those for the Complex video. Here’s a detail I like. Zone 3 is a local police precinct.
Loved all the colors going on here. I just had a thing for shooting backsides yesterday I guess.
I demonstrated how to act like you’re taking a photo of one thing when you’re actually taking a shot of something entirely different.
I see people. But more than that, I see stories. What are all the stories to be told here? When I was shooting this I was drawn to the gentleman in the overalls. But now I’m fascinated by the man in the brown shirt. What’s the story? I want to know but I like the mystery. See how his face is looking in the opposite direction his feet are? I love it. I’m going to take a cue from this for posing portrait subjects. It’s an odd tension that I’m drawn to.
Did all that and was home in time for dinner and our nightly bed time ritual. Can you believe that Hawke Danger just turned three this week?
I got to do what I love and pay the rent. I got to do what I love for the sheer love of it. I got to share what I love to do. I got it all done and still made it to dinner. There’s never been a more perfect day. And Jonathan… thanks so much. It was such a pleasure to work with you. Between our time on the street, and Dan and Erik taking you to the Clermont, I hope your trip to the A was a memorable one! Thanks for having my back. New York would be proud.
Gear Notes :: Press photo shot with the Phase One IQ140 and Schneider 55mm LS. Lit with an Einstein and a 50″ Westcott strip box with egg crate grid. Second press photo shot with the same strip box and two Nikon lights on the side for just a hair of fill. The mirror leaning on the apple box was not there by K-B’s request. It was there as a reflector. I don’t want anyone to think he has a vanity complex! The one stop scrim flying in front of the overhead light was there to reduce part of the exposure on the top frame of the photograph I was taking without cutting light in the bottom of the frame. The mirror was kicking light back in from that overhead light. Two Nikon strobes zoomed to 105mm on the side for rim light. The white B400 had a 10º grid for his face. 30º grid on the overhead Einstein. Set filled with smoke for the final shot. Street stuff shot with the Fuji XPro-1 and the 35mm 1.4 and 18mm 2.0. “Stories” shot with the 60mm 2.4.
I had the great opportunity to photograph ATL hip hop legend, Killer Mike for Design Bureau Magazine. It’s my goal to photograph all the ATL hip hop legends. I’m just missing Luda, Cee Lo, and André 3000 right now.
I love this quote by Mike…
“I dont accept the term ‘political rapper’ because I dont give a damn about either political party. I give a damn about the people.”
The story was about his series of neighborhood barber shops he’s opening. I wouldn’t call them a “chain” because each one will be individually suited to the neighborhood it’s in. I sat in on the interview and he’s a deep well of a man. Funny. Insightful. Brilliant. The man is an art scholar. It was fascinating listening to him talk about his view on art. If you ever get a chance to sit and chat with the man you’ll be better off for it.
Thanks for looking. I’m going to be spending the summer blogging 99% more of the time with photos than with words, reviews, or rants. I have one rant left in me. I’m trying to let it die. I really am. We’ll see if I can let it slide.
Gear Notes – Photographed with a Phase One IQ140 with an 80mm Schneider LS (first shot) and 55mm Schneider LS lens. Lit with one Einstein with 22″ white beauty dish for each shot.
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