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Boston Massachusetts: Final Days of Summer

2011-09-04T23:03:00.001-07:00

As summer is coming to a close, I reflect back on the time that I have spent in Boston this summer. It has not been nearly as much as I would have preferred, but it was time well spent. Last week I was in the city for three days. I arrived on Tuesday and was gone by Thursday. Time passes by fast when you are having a great time. The photos that you will see in this post are made on Tuesday. From the afternoon until early evening I spent my time with my friend. I am working on a project that brings me to the city and to my friend Krzystof. Krzystof is legally blind with very limited sight. He is a focus of a year long documentary project. This is my first "public" introduction to this project. I am going to be making a much more comprehensive post about this in the very near future. The purpose of writing tonight is to more-or-less express that summer is coming to an end and there is a new season approaching. Every day since last Wednesday I have been thinking about how we spend a few hours running on the Charles River. We began in Boston and did the Forest Gump thing, we just started running. 11.7 miles later we were crossing the Charles by the Charles MGH stop on the Red Line. That run was one of the best runs we have ever had. Our goal was to do the 17. something, but we fell short. It truly was a New England summer day. We could not have asked for a better temperature, or better day to run. In reflecting those moments our shoes met the ground, I am thinking about how the warmth coming off the pavement and concrete sidewalks will soon be replaced by the sounds of leaves crunching as people stroll by, hand in hand, pushing strollers, taking their dog for a walk, a break from work, or their children to play at the playground. Soon enough, after a few short weeks of some warm days, hoodies and hats will replace sunscreen and shorts as people stroll the Charles. The skyline views of Boston and Cambridge are breath taking, even on a warm summer day. As the leaves change colors, a new aesthetic will flourish. Like a clock, the new aesthetic will roll in like years before brining in those moments of a fall day in New England. I have found a few spots along the Charles that I will undoubtedly visit and make some images. My project with Krzystof will be opening this December. Over the next few weeks and months I will be visiting Boston and "these spots," I speak of both to complete the project and to enjoy the moments of a fall day in New England. Boston, like Holyoke is home. I get the same feelings in Boston as I do when I am in Holyoke. It is home and a piece of my heart is in both places. In 2009 when I lived in Cambridge for a short period of time, I fell in love with the surrounding area. I spend as much time there as I possibly can. But, again, not nearly as much as I would like.

Visiting the North-end always guarantees a great lunch. We have a few places that we prefer and like to go to. It has become habitual, any time we are in the city, we go to one of our usual places. Of course, we do fall victim to the touristy, Mikes Pasties, you can not go wrong with a famous canoli.

Even police cars can be given parking tickets for "parking" where they aren't supposed to be.

Hurricane Irene

2011-08-31T22:09:00.001-07:00

Hurricane Irene passed through Massachusetts leaving behind flooding, street closures, high ways in passable, and some destructions of small towns, crops, properties and cars. The following images were made in Deerfield.

Gabe Chapley of Chapley Gardens poses with camera. In a conversation with Gabe, he explained how earlier in the day his family helped neighbors and friends move their live stock and machinery from the farms that were in the path of the flooding. Eager to show the images he made, he showed a few photos and a video he made. He was out, wading through the water to make photos for the local access channel.

Holyoke Massachusetts was not affected by Irene like neighboring towns and states. The Connecticut River passes through dividing the land between Holyoke and South Hadley. The dam, as seen in the preceding photos, had an overflow of water. The amount of water passing over the dam could be comparable to the amount that passes over in the spring. It wasnt until noon on Monday the 29th when the amount of flooding passing over surpassed what is typical of the spring surge. Sunday the 28th, the day Irene passed over, I stood on the South Hadley side of the river and made these photos. Monday I was allowed into the Robert E. Barrett Fishway, where I produce more images. The visit to the fishway, for me, was a last minute trip. I only had my phone with me and produce the images that come after the youtube video. Both Sunday and Monday I used my photo to produce video of the flooding.

Hurricane Irene

2011-08-27T22:59:00.001-07:00

Hurricane Irene is making its way North. It is a fairly quiet night. Minimal cars are out, few and are between are passing by. A solitary window is open, passing a cool breeze into the house. The rain drops are poetic and soft, not threatening in nature yet. The rain here in Massachusetts has not yet been as problematic as it has been else where in the country. The Atlantic coast has been taken a pounding the past few days as Irene makes its way up. The anticipation of the hurricanes severity has caused alarm and set in motion a series of closing and cancellations. Today we had a wedding. The rain was a huge factor in the events for the day and left us unable to produce 25% of what we had planned to. As photographers, we can control light, weather, well that isn't something we can really control, at all.

During the ride to the wedding there was a little bit of silence in the car. It was a sad day, a wedding on the "eve of Irene," as the voice on the radio was calling it. The silence gave me a moment to think about how as a photographer I am most concerned with telling a story through images. Due to a major logistical issue, I can not be where I would Luke to be, on the coast in the southern part of the Atlantic, between Virginia and South Carolina. Though in terms of the images I'd seek to produce, I wouldn't shun away from New York City, after all, it is the first time in the history of the city the sub ways have been closed. Regardless of my passion to share visual stories, I am land locked and unable to position myself where I'd prefer to be. As a visual narrator, I am fueled to share what I see by documenting the events I witness. I do not label myself as a documentary photographer, instead it is a role I step into when an event warrants a response to be captured and shared. This event, this soon to be event, hurricane Irene, is not the same situation as the tornado back on June 1st. It is just as sever and can be as deadly as a spontaneous twister that presents itself in a multi town devastation course.

I will be seeking refuge with my camera as I roam around documenting what happens. I have yet to make a single photo in response to Irene, but when the weather changes and the storm presents itself I will be poised with my finger on the shutter. All major news sand weather reports are saying the eye of the storm is going to pass right over our county, Western Mass.

With nearly every store already closed, the immediate threat of the storm has already made its mark, with only a fraction of the rain we are slotted to receive. Power has already been anticipated to be lost. Some communities are preparing for up to a week with this loss. In the event this shall happen, I hope to retain mobile connectivity so I can blog the events that happen. As I document the devastation occurring, I will have both my camera and my camera phone in full operation. Until then, I eagerly await the moments when I am needed to make image and tell the story of Irene's visit.

Be safe, be aware, and take caution. If you feel the pull, the allure to document any form of this storm, please be of the utmost cautious. As I reflect on the day and hearing my family discuss their plans for safety, there is one person not far from my thoughts, but far from the physical safety of home that I worry about. Within a few days a safe return will be made and things will go back to a more peaceful state of mind as the weather clears. Share your images and stories, but please, be safe in doing so.

As Professionals..

2011-08-26T22:44:00.001-07:00

As I am getting things ready for a wedding tomorrow, I can't help but think of the phone call I received last Saturday while I was capturing an adult flag foot ball league. During a break, between teams, my phone rang. The number was unfamiliar and I didn't hesitate to answer. On the other end was a familiar voice. With a quick opening and inquisitive joke about what I was doing that day, my friend started to explain that her friend, "the bride" was freaked out because the photographer she had booked had not been in contact with her, yet. It was the day of the wedding, a mere 3-4 hours away from the ceremony and she hadn't spoke with the photographer that day after making numerous calls. She was upset and feared the photographer was not going to show. My friend went on to explain that after numerous attempts to call and email the photographer throughout the week, they received no reply or response to the emails.

I began to ask my friend a few questions about the plans for the day so I could prepare myself for an emergency job. I was trying to build a mental itinerary to rescue the bride from a horrible disaster. After hearing enough details, the talk of money came next. I began with how much was put down, if all was paid up, and what was left. That would make a difference, in my opinion, as to how much I would charge. Even at a last minute booking, after someone taking payment and not showing, it would have been hard to ask someone to pay a second time for a service the first time they didn't even get. But, in saying that, I must also advise, I knew well before I received that call, the bride and groom were on a budget, which also influenced an idea for assisting. Never the less the money talk warranted the bride to complete the call, as my friend passed the phone over to her. I could hear in her voice a soft and sad tone, she wasn't crying, but I could hear the build up of tears ready to break free from the clouds her eyes undoubtedly puffed up. I asked a few detail questions to ease her into the subject of hiring someone last minute, per recommendation of our friend. A question I asked a few times, "are you really concerned that the photographer will not show," was asked in slightly different variations to see if she was in fact that scared and ready to book me. She was in fact scared and after hearing her say it, she answered a few more quick questions. I gave her a quote, a portion off the rate I normally charge and explained why. The bride said it sounded great and jist as I was ready to give full detail as to what she should expect from me, she broke in with a quick statement saying it looks like the photographer just called her back finally.

She said she would call me back in a few minutes and let me know what was going on. A few minutes later the bride called back and told me everything was ok and the photographer would be there for her start time. She was at that point upset and thanked me for my willingness to be there for her. "I will never recommend her to anyone, referring to the photographer, and I will suggest you to anyone I know who needs a photographer." My friend took over the phone and said nearly the same thing as she too thanked me. I didn't get the last minute wedding, but I was ready to pick up where someone else's lack of professional attitude left off.

If you're a seasoned wedding photographer, you know how every couple is different and no two weddings are ever the same, even in the same venues. You also know how important it is to be there for your clients, to take their calls and listen to their needs and desires. In some instances a photographer can be like a therapist, we listen to their needs and sometimes the needs are part of a larger conversation in which a number of topics could be expressed. It is part of the job. We are their because they are hiring us, have hired us. They are seeking professionals to give them the best. Clients aren't seeking someone with a casual attitude or someone who doesn't know how to be attentive to the needs of the client. In some cases being more flexible than we'd like to, keeps them happy. A happy client will ensure growth and longevity in your business. A mad client will not only prevent your business from future work, it may even taint and tarnish what you've already built.

If you're young in your professional career as a photographer, being there for every call and responding to every email in a timely manner is a must. Sometimes we can't take a call, be it you're with a client, shooting, editing, or busy with something that you can't break free from, but how fast you respond matters. I've received calls at 10pm, I answer no matter what. If I receive an email at 10pm, I make sure that is the first thing on my agenda in the morning. Chances are that email you just got was the last thing a client did before calling it a night. It is priority to answer, but it can wait a few hours, that is unless it is an email asking for an immediate response, then that is a no brainer. I once assisted a photographer who said it very clearly and made complete sense out of this statement: "You can be a good photographer and a bad business person, not being able to run a business, or you can be a good business person and be bad at making photographs. It's not easy to do both and its rare to find someone who is completely great at both." Having a professional attitude isn't something we are born with, it is learned over time, with practice, trial and error, and much needed development. Treat every client as if they are the most important persons in the world, because, well they are. When you are working for them, you're on their time and they are all that matters. Assuring them that this is how you value them, that they are important before their day, during their day, and after their day will make them happy. If you value your job, your business, then value your clients and show them that. Your clients are the sustenance and livelihood of your business, how you value them is a reflection of yourself.

From A Different Perspective

2011-08-24T23:03:00.001-07:00

In a conversation with my business partner a few weeks back, we discussed some of the photography rules we learned when we were teenagers and just starting out. Rules we consciously choose to break now."Never shoot into direct sunlight." Well I'm sorry to say that rule is broken at least once daily, almost on every shoot or when a camera is out. As soon as I knew how the camera functioned and I knew what compositions would look like shooting into direct light, I began doing so.

On Tuesday evening, walking with a friend on the Charles River just before the Longfellow Bridge, on the Boston side, I had my phone out ready to make a few photos. Where was my real camera? Tucked away in my shoulder bag, slung across my back, batteries were dead. It happens sometimes when you're away and your spares are with the rest of your equipment and your one back up on you is dead. *Note to self, hire new assistant.* Being a part of my career, street photography is ingrained in my fabric, like the 300 thread count sheets on my bed. It is a part of photography I would label, hobby. When not working for a client or traveling to work on a project, I make photographs in certain settings, landscapes, streets in relate-able places. Street photography is as much a lifestyle as it is a form of art. It is a way of connecting with people and place, a way of entering the world with a camera and communicating what you see and how you see it.

As a photographer I am always exploring and seeing how the world looks through a lens. I spend time looking for light and how it introduces itself into a multitude of settings. I love capturing both light and people in a composition that warrants a response similar to, "how did you see that, I was standing right there." Observing the world around us is such a simplistic idea once we learn to see past what is really in front, or in my case, to my side and then back.

As we were walking I was admiring the setting sun, as it began to lower over the Charles river. The golden hour of light was already in full swing. With a dead camera, per se, I took to my last resort, my phone. I was glad I introduced my phone to that moment, as it allowed me to capture this image. A young woman sitting on the edge of the wall over looking the sunset. She had her phone out and in between the photos she was making, she'd accidentally power herself. With her back towards me, she didn't realize that she was making a great portrait and image of herself by her posture and choice of location to rest on. Unobtrusivly, from the back I made a few photos. I stopped to admire the quality of light, and in doing so I was able to frame this woman into a great composition and make a photo that I was content with. I was happy, delighted in fact, I almost decided to tell her that as she was making a photo, she really sold the landscape and sunset. I decided not to say anything and accept how I felt the image would create a lasting impression.

Springfield Massachusetts

2011-06-06T00:06:00.000-07:00

On Friday evening I took a drive back out to Springfield Mass with photographer and friend Justin Moreau. I chose to visit a location that I had been to on Thursday and earlier on Wednesday, just after the first tornado touched down. I went out again to continue documenting the area I had first went to. There was not nearly as many people out on Friday evening as there had been during the course of the day on Thursday. People it seemed, were not as curious as they had been with how strong of a coverage the media had been producing. By this time I also speculate that enough people had generated images to share and show for what had happened. The police and National Guard presence were deterrents for people trying to enter in some of the most devastated areas. The National Guard was politely re-directing people away from the scene, as many still tried to enter certain areas that were blocked off. Looting was a serious threat, and very well prevented by police efforts. Small attempts were still being made, as on misfortunate individual found out the hard way. After police pulled him over in the red zone, (area blocked off with red tape denoting serious damage), he proceeded to use his vehicle as a weapon. Police opened fire hitting the suspect.

It was acts like this that had officials and police concerned, among the crowds of individuals that came out to witness the scene, their safety was also a priority. One officer parked mid-way down on Main st was in his car using his speaker as a means to yield on comers with the phrase, "This is not a tourist attraction, turn around and leave now." They meant every word of it and were threatening arrest to those who did not listen. I managed to document some of the transitions and changes to the landscape. One of the most recognizable changes comes to the block and intersection of Main st and Union st.

From this panorama you can see the buildings have come down that were standing the day prior to this being made. The barrier had been pushed back as a preventative measure to ensure peoples safety, as groups of onlookers watched in horror, shock, and sadness as the cities landscape began to change. It was surreal and shocking to see the building down. On Wednesday, just moments after the tornado had struck, I stood in the middle of Main st, right next to the demolished building. I am no longer able to get close enough to produce an image that further shows the change in the landscape of the city. I will have to wait until the street becomes clear and city is back on track, which will take some time. Below is a second gallery from Friday evening.

Springfield Mass Aftermath II

Tornado in Springfield Mass: Photographs and words on the devastation.

2011-06-02T21:22:00.000-07:00

I must apologize before you continue reading. This article was intended to be published using a blogging software that failed numerous times while trying to get the post published. This post was written the night of June 1st and the morning of June 2nd. Since then I have been back to the scene two more times and have also traveled to Wilbraham and Monson Mass. You can view a comprehensive gallery of images by visiting this link:

Photographs of Tornado Aftermath

On June 1st, like most days, my Droid chimed in with an alert from Facebook. It was my friend and owner of Western Ma Storm Chasers. He was sent me a message to warn me to be on alert. This was the kind of message that you do not want to ignore or not heed without a moment of consideration. I did not have time to respond and went about my day. Shortly after leaving a family members house I found myself driving to the studio to get my camera and some other gear to head out and capture some of the storm. I thought I would be capturing some lightning, like I had done so many times last summer, but I couldn't have been more wrong. I sent Chris from Storm Chasers a text saying I was on my way out. I received a response after grabbing my camera, ending a phone call, and making my way to my car. Granby, was what it read. So, taking his tip I headed towards Granby.   The next call I received would alter the course of my afternoon and evening. Answering, it was a family member. There was an extended level of anxiety in her voice as she explained my grandmother called. "12 minutes ago a tornado touched down in Springfield. Are you in Springfield?" I was not. I was about 15 miles out of Springfield. I turned around and made my way back. Knowing that you are approaching an area that has just been afflicted by devastation is an ominous feeling. I had, at the time, no idea what I would be heading towards, driving into, or just how badly the storm had ravaged the city. Within minutes I was approaching the highway. I knew I had only a few more minutes until I would reach the city. I began to wonder where the tornado had come down, where should I go to find its path? What am I going to witness. Expecting the worst would allow me to enter the scene with less fear and be more resilient in capturing the aftermath.

The closer I came to an exit, the more I scanned the landscape to find debris and search for signs of damage. An ambulance was in front of me as we entered a dense patch of traffic. Their lights went on and they cut right on to the exit. I followed a head of them to see where they would be heading. That is where I saw the first tree down. More trees became visible, as they lined the street in a disarray that would command one to question what had just happened, if they other wise did not know. I threw my blinker one, jerked the car into the fire lane, just above the road that comes in across the Memorial Bridge from West Springfield, MA. I jumped out and made a my first photographs from atop the high way.

I got back into my car, kept the blinker on and sped down the fire lane to the first exit coming up. Finding the first parking lot, I sped past trees, branches, and debris from signs and light poles. I knew at that point, I was in the wake of a serious and very dangerous tornado. Parking, I grabbed my camera, some memory cards, spare batteries and headed out. I surveyed the damage that I was closest to. I just knew that there was something else to see. I didnt see any over turned cars, burning buildings, or much worse, (not to be described here). I set out to capture the destruction. I knew I would be down there, amongst the debris and devastation for a while, I was still trying to grapple with the fact this had occurred.

I navigated the landscape, crossing over branches, avoiding broken glass, dodging street signs and other building materials. The noise of car tires passing by created a lasting popping sound, as they slowly rolled over branches, leaves, and occasionally pieces of glass that were unavoidable. People on cellphones were frantically speaking to the receiver of the call, either acting as a compassionate and sympathetic ear to a scared voice speaking to them, or the voice of terror as they try and locate a loved one to validate their safety and where about s. The abundant amount of cellphone usage jammed up the lines, as I had trouble making calls. Witnesses, survivors, spectators, police, fire, EMT's and other safety works filled the streets. As I approached Main St, it had not yet been closed off. It was not known at the time that a gas leak was filling the block in a cloud of invisible disaster, awaiting to erupt in flames. As I maneuvered the crowds of people, I heard voices of terror, bragging their survival, anger, sounds of sadness and pain. There was a lot of confusions as groups of people walked back and forth, not knowing where to to and what to do. A young woman in charge of a group of students, youths, or troubled teens, (it was unclear as to which they were, as the group hesitated and gave sever resistance), demanded they follow her away from the area that was being leaked by gas, as a woman had lit a cigaret. With sheer disregard for herself and the well-being of the individuals around her, she began to smoke her cigaret and the young woman corralled her youths together and made for safe place.

A few of the above displayed images capture a sense of destruction. Some capture the human activity surrounding the event as it continued to unfold. One man, being told repeatedly by police officers not to duck under the yellow tape, did so any ways. Resisting the officer, he was unwilling and uncooperatively forced back from his position. Samuels, an establishment I had visited a few times was in the midsts of the chaos and the corner for a street closure. Police from both State and local units began to vacate the area, forcing people back for their safety. I say forcing, as people converged on the worst areas, not just as residents, tenants, building owners, but some as looters and spectators. Above you will find an image of young man attempting to enter a nail salon. Coerced back by his friends, he did not fully enter the building. Probably a smart move, as the police surrounded the area in a number that out-weighed the civilians onlooking.

Sitting in a wheel chair, a woman is sympathetically cared for as she embraces a man in an intimate connection, seeking comfort from the trauma she just survived. Every 3rd or 4th car occupying the streets or passing by suffered some sort of chaotic damage. At one point a woman in a white Toyota Camry nearly backed into me. With her rear window blown out, windshield cracked and a trunk she had to force closed, I was amazed she was so willing to drive away from the scene. The interior of a gym designed to train boxers, had its roof torn off. The ring, a bag, some treadmills, and clunky metal fans were exposed. The fan blades still spun with a threatening rattle, as electricity was still powering the building.

I made my way back over to Main st, where police increased their procedures for evacuating the area. "A second storm is coming, get to the Mass Mutual Center!" shouted the police. People ignored the warnings, to which they found an even greater resistance than their choice to continue forward. Officers had to eject a young man off his bicycle as he tried to pedal past them. His comeback to the officer, "I didnt have breaks." "Well that is your fault, now get out of here!" Responded the officer as he gave him a shove to be on his way. It was clear, very clear, that area was not to be entered and they didnt want people there, for their own safety. I made my way back as well, knowing I could not be as close any more as I would like to be.

Journalists, reporters, businessmen, men, women, children, animals, students going to prom, all found themselves being safely ushered into the Mass Mutual Center for their safety. It was an arena of high emotions as people walked around, disoriented and confused. The American Red Cross was still not yet on scene to provide assistance. I was stopped and questioned as to what I was doing with my camera. It is not at my discretion to fully explain the exchanged dialog. Moments later I vacated the building at my own liberty. I needed to get back to process the images and email them out. I needed some gas for my car and to hydrate myself. After jogging back to my car, I found a moment of salvation in sitting down. Now, now was a stressful moment, as I absolutely needed to refuel my car. This lead me to West Springfield, where, I had no idea, they had also been affected. There were down trees everywhere and it took me two gas stations and another city to find a source of fuel and liquid sustenance. A quick pit stop and I was on my way back to the studio. I got back, processed the images, sent them out in an email and made my way back to the scene.

Like the setting of a Hollywood film, that scene where an intense and dramatic action have taken place, Springfield looms in an apocalyptic emotion that resonates with anyone who walks on the tattered sidewalks. Around each corner, a new setting from the same movie, a scene from a tornado taking ownership over a city, each setting is devoid of its casting star, but in replacement are workers, safety personnel, police, fire and the National Guard.I spent nearly two hours walking around. Through it all, I was able to capture the anarchy that was dropped on Springfield. Just before I got back to my car, I made this last photograph. Crown Fried Chicken remained open through almost every moment of the events that took place on this typical Wednesday. As I was leaving though, the bars were starting to open up, but they had not been open while the most sever action was taking place.

This is a recount of my experience yesterday. (June 1st) As a professional photographer, I aimed to capture the scene to share and document. All photographs are copyright and can not be used without permission of myself. Please contact me if you would like to use any or all images within this article.

Day II Thursday June 2nd

On Thursday June 2nd I went out again to document the aftermath. This time I was accompanied by one of my friends, a professional shooter and colleague of sorts. We started in Springfield, walking block by block seeing the destruction in a new light. The clarity of the rain and storms had passed, leaving behind broken homes, tattered buildings, cars beyond repair, memories, sadness, tears, and a wake of destruction that will take some time to clean up. Each photograph I made both on the 1st and 2nd has words that correlate with it, but because of the software crashing, I can not just drop images in and expect them to sit properly in relation to the words. This severely reduces my initial text that I had written for the second piece, the second day documenting the chaotic clean up. I did find that sometimes one image couldn't convey the space or the sense of destruction that was incurred upon the city. Within the above linked gallery you will find a series of panorama photographs that convey a much greater sense of landscape and exhibit a more compelling and emotionally engaging sense how the city was left after the tornado passed.

I was also very interested in the human presence within the destroyed landscape. Hundreds of people convened upon the streets. Cell phones, psp gaming systems, laptops, digital cameras, point and shot cameras, any device that could record an image or video was being touted about. The devastating moment that had passed, left behind not only carnage, but the new need to witness capture what had happened. As many people as there were out with their cameras, there was almost that many media outlets on location doing live feeds. It was more than a surreal experience to walk through the streets of such a disaster. Occasionally a familiar face would surface in the crowd as we made our way through the streets.

As bad as Springfield is, in terms of destruction, other towns such as Wilbraham were hit just as bad, if not worse. We took a drive up and found just as much chaos as in Springfield. From viewing the link, you will be able to see just how bad it was. I am not sure if I will be out again tomorrow, or if I will wait a few days for the landscape to alter more as the clean up and building demos continue.

Re-visiting familiar places: Capturing the changes.

2011-04-24T14:36:00.001-07:00

The last time I stood in this spot it was cold, snowing, and frozen over in a blizzard of New England furry. Today it is in the 70's and I have a few moments to enjoy an over-cast day while awaiting the arrival of a friend at Logan International Airport. The contrast in the weather and the holiday has brought a number of people to the sandy, low-tide shore of through Boston Harbor Walk. Families enjoyed walks on the beach, volley ball, and sitting and enjoying each others company. I used the opportunity, a brief moment, to capture the beauty of the day. I frequent this area when I am not shooting in Holyoke, or otherwise engaged in a project. It is a great area for making some wonderful street photographs and capturing the essence of moments at an urban beach setting. I've been contemplating a move to this area for its beauty and architecture. Whatever I decide, I will continue to visit.

Fire In Chicopee: 2nd Devestation in 2011

2011-03-28T04:49:00.000-07:00

Before I begin my story, I would like to say thank you to all of the responding firefighters on Sunday's tragic loss. Thank you for your dedication. Some people punch in and sit behind a desk, a computer, a cash register, or a machine, you as firefighters punch in when the tones go off and put your all on the line, without question, for the lives of people you do not know, buildings you may have never been in for business you may never need. Your day starts when that call goes out for your help. Your day ends when the last piece of smoldering timber is put out and the scene is contained and safe. Thank you for protecting our community/s.

I had my phone on vibrate and didnt feel it go off when I was meandering around Target. It wasnt until I got in the car I had noticed a text screaming, get down to Sheridan St in Chicopee, there was a massive fire. Seconds later my conversation was interrupted by a call. I was about to make my way out of the car to get back into mine when I took the call. It was a friend, "get down here," is all I remember. I knew the location from the text and knew that if it was that bad, I would see smoke. I said goodbyes as I was fiddingling with attaching my lens to my camera and checking the amount of space on my card. Seconds later I was tearing through the parking lot to make my way to the scene. Fearing it was a house fire, once the smoke became visible, the thick, black bellowing smoke emanating from the scene gave way to the fear of a house fire and now had me wondering which business was going up. Black smoke is only produced something toxic, hazardous, chemical based, or product based is burning, oil usually. Tires, tires is what was stored in this building and tires will cause black smoke when burning, well rubber and plastic for that matter. Pulling into almost complete visibility, there were dozens of cars parked all over the street. Blocked off by the police, the cars were placed there by the onlookers that flocked towards the scene. Listening to the phone calls, people talking, and the general discussion, a good majority of the people there were employees of the business. Some were making calls in haste to warn people, joke with people, or to inform someone that their job loss was going to affect them in some sort of way. It was very sad to hear these stories as I splashed through puddles and stepped over hoses to make my way onto the scene. I began looking for "the spot," as I call it. That one pivotal place that will guarantee me the shots. The logistics of trees, buildings, and surrounding structures made it hard for me to find my place. But, I did. It wasnt easy, but after a few moments of searching, I ran down the side of a building and came right into view of the towering plume of smoke and flames. I began shooting, moving, shooting, taking position, and documenting what was happening. As I maneuvered around, a firefighter spotted me and yelled for my attention. He motioned for me to get out of the area. He meant it by the speed of his gesture and the tone of his voice. I complied and moved to the side. My phone rang again, it was the friend who called me. After a quick conversation and some confusion, we found each other. I brought him back to where I was standing and we began to both document the tragedy. A brief interaction with the Incident Commander and we were asked to step aside. By that point, I had what I needed and the most I could get now would be if the building took a turn for the worse and erupted in a display of debris and flames. Westover Firefighters were there assisting in the controlling of the blaze. It however was a total loss. The best that could be done would be to contain it and hope that nothing gave way and blew up. Out of fear of this, the state police began to control the crowd and push the onlookers away, which included me, twice.

No two fires are the same. There are always variables to account for, and with in reason, I keep a distance safe enough to be able to capture the action. I have been to numerous scenes and know my limits. Often times shooting for the media allows me to get close enough, but this time safety was put first. Below are some images I captured while on scene. Again, Chicopee was there working damn hard like they always do.

Update*

If you have already read the above section, that was a few hours before I had returned to see what the conditions of the blaze were like. It was dreadfully cold out. I stood next to another media photographer, in front of three news crews there to capture the post traumatic action. We discussed the scene and a few other things. After the news crews were doing interviewing the Incident Commander, he made his way over to us and invited us to come into the action take a closer position. I spent the next 40 or so minutes walking around documenting action as it took place. By this time the flames had been very well suppressed between water and foam, the firefighters really had the blaze controlled. Below are a photos I captured.

In Passing

2011-03-15T13:24:00.001-07:00

A few images that show the presence of people through their absence.

Charlie Sheen

2011-03-10T14:19:00.001-08:00

Charlie Sheen will be making a guest appearance at The University of Massachusetts, Amherst, to address college students and make a bold statement.

Follow Up: Center St Chicopee, MA

2011-02-27T23:16:00.001-08:00

Early Sunday morning I passed by the scene of Saturday night's fire to do a follow up and to see just how devastating the blaze had been. I was moved by the sight of the burnt out building and the wall left standing. Myself and an amateur photographer stood starring at the structure as we engaged in a dialog about the previous night and the emotions display we both encountered. As I maneuvered around the scene, speaking with Lieutenant Kevin Morney of the Chicopee Fire Dept, he proceeded to tell me that the building was to come down very shortly. The remaining pieces of the building were unsafe, unstable, and "could come down with a sneeze," as one firefighter later stated. Not nearly as many people were present as the previous night, but crowds of spectators came and went, recording snippets of the action on their cell phones. Occasionally someone would appear with a camera in hand, making a snap shot or two of what was transpiring. I decided then, after hearing the Lieutenant tell me the building needed to come down, that I must stay on scene and document it. The moment was disheartening, but the idea of the story compelled me to document it.As I moved around bearing witness to some last minute hot spot hose downs, emergency officials, city officials, business owners, fire restoration specialists, as well as the crew members of Associated Building Wreckers assessed and evaluated the scene before them. It wasn't long before vehicles for the demo started to show up. Working quickly, the crew of Associated set up their equipment and began the process of cleaning up Center St and making preparations for the building to come down. The scene was charged with a high level of emotions as people found their place to watch. Stories of the building, the business, the residence were being passed back and forth as on lookers stood in awe of the building and what remained. An architect, passing by, asked the Lieutenant to walk down Center St so he could see for himself what had brought this beautiful building down. As he was parting, he turned and thanked the Lieutenant for all the he does. The Chicopee Fire Dept and the surrounding companies all worked hard. Their efforts and bravery surely do not go unnoticed. Thank you to all the firefighters that extended themselves this weekend, and everyday for that matter. Your dedication to the job and the city saved lives and the buildings that occupied the same block. On a more positive note, as was told to me, the Munich House will be open on Tuesday. I think it would be a tremendously generous act if the Munich House was to celebrate the bravery of the those who risked themselves to save the building and the lives that were in it. A beautiful building that once stood, now exists as a beautiful memory.
Early Sunday morning I passed by the scene of Saturday night's fire to do a follow up and to see just how devastating the blaze had been. I was moved by the sight of the burnt out building and the wall left standing. Myself and an amateur photographer stood starring at the structure as we engaged in a dialog about the previous night and the emotions display we both encountered. As I maneuvered around the scene, speaking with Lieutenant Kevin Morney of the Chicopee Fire Dept, he proceeded to tell me that the building was to come down very shortly. The remaining pieces of the building were unsafe, unstable, and "could come down with a sneeze," as one firefighter later stated. Not nearly as many people were present as the previous night, but crowds of spectators came and went, recording snippets of the action on their cell phones. Occasionally someone would appear with a camera in hand, making a snap shot or two of what was transpiring. I decided then, after hearing the Lieutenant tell me the building needed to come down, that I must stay on scene and document it. The moment was disheartening, but the idea of the story compelled me to document it.
As I moved around bearing witness to some last minute hot spot hose downs, emergency officials, city officials, business owners, fire restoration specialists, as well as the crew members of Associated Building Wreckers assessed and evaluated the scene before them. It wasn't long before vehicles for the demo started to show up. Working quickly, the crew of Associated set up their equipment and began the process of cleaning up Center St and making preparations for the building to come down. The scene was charged with a high level of emotions as people found their place to watch. Stories of the building, the business, the residence were being passed back and forth as on lookers stood in awe of the building and what remained. An architect, passing by, asked the Lieutenant to walk down Center St so he could see for himself what had brought this beautiful building down. As he was parting, he turned and thanked the Lieutenant for all the he does. The Chicopee Fire Dept and the surrounding companies all worked hard. Their efforts and bravery surely do not go unnoticed. Thank you to all the firefighters that extended themselves this weekend, and everyday for that matter. Your dedication to the job and the city saved lives and the buildings that occupied the same block. On a more positive note, as was told to me, the Munich House will be open on Tuesday. I think it would be a tremendously generous act if the Munich House was to celebrate the bravery of the those who risked themselves to save the building and the lives that were in it. A beautiful building that once stood, now exists as a beautiful memory.

We extend our thoughts and prayers to both the victims and the business owners in their time of loss. As a business owner myself, I can not fathom the level of emotions that being experienced.

Chicopee: Fire Destroys Apartment Building.

2011-02-27T00:44:00.001-08:00

Just a little while ago I returned to my office from the sad scene of a fire taking place in Chicopee, MA. Dozens of people converged in an attempt to view the scene as it unfolded. Cameras in hands, videos being made, people running back and forth looking for "the spot" to watch the devastation take place from, it was a very disheartening. I had already known the media was there to cover it, which means my images most likely wouldnt make the newspaper, like previous fires, but I still went to document the blaze. Here are a few images.

All Photographs are copyright Jeffrey Byrnes and Lenshare. Contact for media usage...Do Not Copy and Paste.

In a conscious effort to really show the depth of the scene, I produce a few panoramas. Shown below.

Photo Essay: Homelessness

2011-02-21T19:20:00.001-08:00

Day after day we pass places seen and unseen, never knowing just what is happening on the inside unless we stop to take a look. Often times we are to consumed in our own ways to bother stopping and making the attempt to look. On a very bitter day last week I took my intern to a location that I have visited a few times of the past few years. I have photographed it for the aesthetics of abandonment and for the historic preservation of how it stands today. Over the more recent months the change in seasons brought about a change to the interior of this space. There now exists a new inhabitant; the photographs below are portraits, devoid of a physical appearance of the occupant, but their belongings are what puts them in this space. We found the structure, the consciously built home, with a mattress and blankets placed in the right position so the occupant could place a candle for heat, light, and possible a source of energy to warm a meal. On a daily basis we pass through doors to our homes, doors with locks, barriers that keep the elements out and our homes warm. We do not stop to think twice about the door we walk through, the privilege we have to have a door that locks. Most of us will never know what its like to walk through an entrance of wood, exposed beams charred with scars of flames and heat, passing through debris carelessly tossed aside from a night of partying, or car parts dumped illegally in an attempt to make a haste escape from the scene. Most of us will never know what it is like to fall asleep in a building that stands only as a living testament to the horrific past of a city once steepled in riches now stigmatized with, a history of loss, sadness, and tragedy.

Vignetting: The History of and When, How and Why photographers Vignette their photographs

2011-01-27T01:04:00.001-08:00

Vignetting is a term that dates back to the days long before photography existed. It has always been a subjective practice that goes back to when painting was the predominate visual element that ruled the world of art. The purpose of vignetting was to produce a gradual fade from a focal point of a painting to darker edge leading to the border or frame of the painting. In some applications, vignetting was added to set a darker mood in a painting. This same idea has been re-contextualized into contemporary photography. Throughout the history of photography, vignetting has made it's appearance. In analog photography, (traditional processes utilizing film and the darkroom), vignetting was achieved by what was known as burning, (dodging). This process involved burning in the edges of the photograph after already having made the initial exposure desired for the final image. A photographer would go back and use a tool to block light on part of the paper, (where the part of the image desired to be most visible), and expose the edges while moving the tool around to produce a soft gradation from the visible area to the edges/border. Often a photographer would use their hand to produce this type of burning in affect. It was the use of the hand that we now see as a tool in Photoshop. This same process could be used in other applications of analog printing. With the advent of Photoshop and other stand-alone programs that allow for image editing vignetting can be achieved much easier, faster, and even more subjective. As subjective as it is, vignetting should still adhere to a set of rules. Going back to the idea that vignetting was originated to produce a soft gradation from a focal point to darker edges/border,

Vignetted

Original

The purpose of vignetting was to reduce the edges of a painting to a softer more gradual, darker border edge through gradual shading out of the tonality in an image, and fade the edges towards a focal point, often the center of the image. slightly as so the eye is directed towards the point of interest.Most commonly, photographers would use their hands to produce this technique. Sounds rather interesting, doesn't it? Well, it is. While using an enlarger, (mechanical device used to pass light though a negative and onto photo paper), the photographer would extend the exposure onto the print by increasing the darkness on the edges, (burning the edges of the frame, print, border of the photograph). Waving their hand over the part of the image they wanted crisp and clear, leaving the edges to become darker, burning them in, the photograph would take on a gradual and soft vignette. The use of the hand, is what we now see as the "burn symbol" in Photoshop. Dodging, (another topic for a later article), is when you do the opposite. You "dodge" light away from a specific part of the image. Hence the dodge tool resembling a tool that was also used in traditional processes of photography.

Some definitions of vignetting include:

"a decorative design or small illustration used on the titlepage of a book or at the beginning or end of a chapter"

"an engraving, drawing, photograph, or the like that isshaded off gradually at the edges so as to leave no definiteline at the border"

In more recent research and viewing of images, I have come to see a harsh use of vignetting. This leaves me to wonder if photographers/people are trying something new, or the information on how to properly vignette an image has not been provided to them. Regarded as a subjective practice to enhance the viewing of an image, there still exists a much more proper way to produce an even vignette that commands a viewer to see the specified portion of a photograph. Vignetting is not so commonly used to produce borders on images like we have seen over the decades in graphic design or how they were once used in books. Instead, we see it most commonly and some times over used in photography. With the advent and widely accepted use of digital photography, a number of people find themselves applying a vignetting to their images with lack of proper understanding to what its purposes serve. Proper vignetting is achieved through a variety of mechanical techniques. There are a number of ways you can produce this affect using Photoshop, other software, Photoshop plugin, or even some online photo-editing programs. Once understood, a vignette can produce a softer, more gradual way of directing the viewers eyes or attention to a specific location within the content of the photograph.

The image below, (before and after), is an example of a before and after a vignette is applied. It is important to note that there is a slight difference between the two images. Once the vignette was applied, (image on the right), the values of the whites took on a slight tint. This is because the introduction of the black to create the vignette influences the white, creating a slight grey cast over the white. The act of applying the vignette did not add any color to the image, we only see this present because colors, in this case the black and white tones, influence each other. But never the less, this is an example of a before and after vignette. It shows a vignette that is more gradual as it shifts from the edge of the composition inwards to the middle where there is no color. This is what a typical vignette should look like.

Here we see the original image with no vignette, just a light edit to the subjects faces and a nice black and white conversion.

To fully see how the vignette shifts and looks when applied, look to the top right corner of the before and after image; the white becomes a darker grey on the outer most portion of the frame and shifts its tint to a lighter gradation as it advances towards the center of the photograph. For this vignetting application I used a photoshop action that allows me to have complete control over the vignette. In a few moments I will show how I produce the vignette with this action.

This next image is a prime example of what I typically see, most often, by amateur photographers, or someone who is just starting out in digital photography.

As you can see the vignetting is very harsh, producing a very hard edge on the outer most portion with no gradation, just an inner edge with a slightly pronounced softness to it. This is the example I refer to above that depicts and image with a vignette that looks more like a border overlaid on the photograph. This is very unflattering and gives a false appearance to the photograph. By this point I anticipate there is a more clearly defined understanding of what a harsh vignette looks like.

This next photograph is an unedited image that has no vignetting applied to it.

It is crucial to introduce the idea that great vignette must have an even background. If you have a photograph that has a subject matter dead center and want to direct the viewers attention to the subject matter, yet the photograph has a sky that is washed out and a foreground that is in good exposure, laying a vignette over the image will cause the sky to take on a pretty muted color. This is very unflattering. The alternative would be to just burn in the foreground leading up to the subject matter. You would want to follow the same principals as vignetting, a smooth gradation leading from a darker edge to a softer edge that drops off, leading the eye to the focal point, or the point of interest.

Burned in foreground

This next image is the same as above, but has the vignette action applied to it. The image appears darker because there is a layer with a mask over it. If you do not know what a layer mask is, read this tutorial on layer masks. The steps used are very similar when I use this action.

This next box shows what the layers look like that contain the original image and the layer with the mask.

After you have applied the layer that creates the mask, you are ready to take control over the vignette.

In order to produce the gradation you see, I adjust the layer opacity, (as seen in next image) and adjust the opacity of the brush, (as seen in the image that follows the next). This allows me to have control over the darkness of the vignette. Once I start controlling the layer using the brush opacity and layer opacity, I now have the flexibility to produce the smoother gradation we are seeking.

As you can see in the layer 1, there is a black oval-ish shape in the layer mask. That was the paint brush being applied to remove the dark that was originally there. I then set the layer's opacity to 59% so I would not have a harsh border instead of a vignette. I went ahead and then reduce the opacity on the brush to produce a softer gradation on the inside of the vignette.

The end result is seen here.

Going back to the image of the band, I did the same steps in photoshop. With this photograph you can really see how a border can be formed when done in a sloppy, quick vignette.

Original Photograph

Vignette applied

To much vignetting, no gradation

I use Adobe Lightroom for a great deal of editing. I use it as a first step in viewing my photographs and it is a large part of my work flow. That is an entirely different subject matter. Lightroom has a great feature for allowing the one manipulating the photograph to apply a vignette.

No Vignette

If you look to the right side of the photograph, you will see a box that has a number of features. Under vignetting you can see Lens Corrections. Moving these sliders will allow you to control, produce, and applied a vignette to your photograph. You can see the settings I went with and can compare to the image above.

Over Vignetting. There pronounced gradation; just a border with a softer interior edge. This is again what I am referring to when I say, I commonly see a vignette that is over done.

The idea of producing a vignette in Lightroom is much easier than producing one in Photoshop, unless you have a plugin or action, like the one I use. When I first began producing vignettes using this action, I was using it at a photo studio I previously worked for. The first time they showed me this action they instructed me to run the action and just make two-three quick brush marks on the layer with the mask. When they showed me this, they produced a border and not a smooth gradation. I quickly explained how unflattering that looked and asked if this was an edit that was frequently asked for. Upon hearing a "not so much", I gave a quick example of how it would be much more flattering to produce a vignette that wasn't so harsh and abrupt in how it ended with a blurred or semi-soft interior edge. The result, "lets produce vignettes on images that look like this now." Simply knowing how to produce an image that is more flattering will result in more views, more attention to the photograph, and if you are a studio, business, or someone selling their work, most likely knowing this will increase your sales.

A great example of an vignetting application can be seen here. Vignette Script I Gimp Plugin

Vignetting doesn't have to rely solely on viewing the center most portion of an image with a gradation that pulls the viewers eye to the center. You can place a vignette that directs the attention of the view to either side, or to the top or bottom. As mentioned above, it is a subjective practice, but still abides by a set of rules, that when not broken enhances the visual qualities of a photograph. For the purposes of this article I have chosen my own images to edit. I will visually demonstrate the proper usage and mechanical technique of a vignette and in contrast show the same image with an over extended vignette that can take away from the images meaning, story, or aesthetic precedence. As subjective as vignetting can be, when properly done, it can render and image more aesthetically pleasing to view, thus increasing the meaning and message the photograph may be trying to convey.

Original

Vignette action applied

Layers showing area in mask that was removed to produce off center vignette and layer opacity changes

Brush opacity changes

Final image with smoother vignette

Optical Vignetting is nasty little vignette that can be produced from the lens being open to its widest opening. This means when your F-stop is at its lowest number the light passing through the lens can create a vignette on the edges of the frame. To correct for this, you would decrease the opening, allowing less light to pass through the lens. In order to compensate for the lens closing, you would have to increase your exposure time.

Example of optical vignetting

Top portion with optical vignetting

To correct for this in camera you would close the lens from say an f-4 to a larger number like f-8 and increase your exposure time. By closing the lens you are letting less light in. The vignette occurs because to much light is coming into the lens. You will need to increase your exposure time to compensate for the less light coming through the lens. It is a very simple action that you need to do in order to correct for this. If you have a photograph that this has happened to you can very quickly correct it. By simply using the clone stamp tool in photoshop you can get rid of it in the sky. If you have the vignette in the foreground, you can use the dodge tool at a very low opacity and dodge the vignette lighter, trying to blend the exposure of the vignette to match that of the rest of the foreground. I know that sounds a little intimidating the timid photoshop user, but I swear that it is easy and after one or two times, you will be able to control that very easily. But, it really is best to set the camera to not produce the vignette, which will keep you from needing to do these unnecessary edits. They are unnecessary in terms of how avoidable they are.

With the easy to produce vignettes and no really idea or concept of how to use them, the theories, whys, and whens, photographers and amateurs often create the harsh borders. It is very easy to get caught up producing images with this type of vignette if you other wise do not know that a truly flattering vignette does not appear to resemble a border. The use of a vignette is purely subjective, yet if you a concerned with the aesthetics of your photographs, you will want to know what works and what does not work. Producing an image with a smooth gradation yields for a more striking image to look at, in contrast to a photograph that looks like the edge of the frame is advancing to the center with a border. I hope that the ideas I have introduced provide a very good framework for how you produce your vignettes. I would like to express, that if you have any comments or questions, please feel free to email.

Winter Commute

2011-01-19T17:38:00.001-08:00

My commute this morning was very beautiful and peaceful. Coming from the Northeast corner of U.S. we get our fair share of winter conditions. Last week and this week has left us with a healthy amount of snow. Today I intentionally left an hour early so I could enjoy it from not just the window, but through the lens. It was very peaceful to watch the fog dissipate and allow the sun to come through briefly. Shortly after the sun came out, it disappeared again for the rest of the day. A quick snow shower came and brought with it a little chill in the air for the commute back. It truly was a post ice storm wonderland this morning. As I was shooting, I was surrounded by the sounds of falling ice. It was devastating, yet magnificent at the same time. It was a tad bit warmer than usual this morning, hence the ice falling. Below are a few images I made on my commute.

About the photos: I read an article earlier in the week about shooting on a "grey day". The article was filled with lots of misinformation that could really put off an amateur photographer or someone new to the medium. In terms of photography, there is no such day as a "grey day". That term is reserved for an overcast day that produces, depending on the value of darkness, some really good lighting for shooting portraits. The article was very false in the sense that it conveyed a biased opinion on how to shoot on this type of day. A day that is over cast has, for the most part, depending on the quality of light-low dynamic range. This means there is no high key lighting to work with to create shadows and bright highlights. For the images above I put a polarizing filter on my lens and set my exposure. Had I not, I would have either had to increase the shutter speed or f-stop to compensate. At that point I still would not get such a dramatic sky while retaining a nice exposure in foreground. When you are shooting on an overcast day, think monochrome, (black and white). You want to have a nice even tonal range from the blacks to what ever whites you can produce. Ultimately you want to have a nice sky that is not pure white. This is where the polarizing filter came into play. Referring back to what I read, the article mentioned black and white but did not express having nice strong blacks while having the mid-tone greys that really convey the sense of mood fused with some sort of high lights. Instead, it just said, think black and white. Days of low dynamic range, over cast days, are not particularly best for tons of color images. This is why I made sure to convert to black and white in post processing. There are a number of ways to convert an image to black and white. You need to keep in mind the contrast to create the deeper black that makes the image POP, and come to life. You really want to avoid an all grey, flat, murky image. If you are unsure of what a polarizing filter is, you can read about it here: Polarizing Filter If you have any questions, please feel free to email me. This was just a very quick introduction to the idea of shooting on an over cast day and using a filter to pull in a nice sky to create a complete tonality in your photographs.

Welcome to 2011

2011-01-02T16:04:00.001-08:00

Happy New Year! 2011 is going to be a very large year! I would like to start by saying that in the ending months of 2010, my time on Lenshare wasn't as great as I had wanted. When someone gets as busy as I had, things some times get put on the back burner. This was the case starting around September 2010. From September till just about now I have been consumed with exhibits, weddings, other photo projects and searching for a studio. The location I was in during the summer did not work out once fall came. In December we moved into a smaller, more intimate studio than we had in the summer. This space is just the right size for what we planning for 2011. Over the past four months I have also devoted quite a bit of time to a personal project that I began back in late spring 2009. Vacancy is a socio-economic documentary project that opens this week at the Wistariahurst Museum in Holyoke, MA. The opening of this exhibit is first step towards the completion of this project.

Below are some of the highlight images from the last few months. I have a lot more, however, that would require a very large gallery. Time constraints would keep me from producing that at the moment. In 2011 as part of my newest business plan, Lenshare will be revamped and I plan to write one article a week geared towards a topic in photography. Next weeks article will put a focus on Vignetting. I will also be working on setting up a newer much sleeker look for the site as well. I hope 2011 is a great year for you as well!

Moving Forward: New Studio, New Opportunities

2010-11-11T23:32:00.001-08:00

Over the past two weeks our photography business has been forced to vacate the space in which we were shooting. Our studio was situated in a beautiful mill building in Holyoke, Massachusetts. Back in May, we, (business partner and I) found a beautiful building with ample natural light, very spacious for shooting, and the possibility to accomplish a lot of what we were seeking to do in terms of shooting. Now, after a slew of events, we are looking for new space. It is tough to find what you need when you can not out-right build what your shooting and business requirements demand. Here is one of the last portraits that has been made within the room that was filled with ample natural light.

It is very unfortunate that we have to vacate such a beautiful location, building, and opportunity. It is not within our control, nor was it a situation that our actions resulted in to cause the demise of this opportunity. Last Friday a former professor of mine visited our studio. He brought with him a class of his Photo Journalism students. They are working on a project visiting studios both photography and artist related. Their idea is based on how artists are revitalizing the city with art, technology, and innovation. The new artistic movement is creating a surge in studios rising in this area. The class came in for a small demonstration, a small discussion, and took a quick photo-tour of the building.

It was both rewarding for the students as well as I, for them to come in and visit. It gives the students an opportunity to see what creativity and an ambition can succeed to accomplish. The school in which my business partner and I met at deserve as much support as they can get. It was their institution, professionals, and educators that have inspired us to achieve what we want. The constant support and reinforcement in and out of the classroom has been nothing short of rich in terms of encouragement. As we move forward to a new space, it has been the networking and constant communication with our past mentors that is leading to newer and more exciting things for us as professionals and for our business.

Recent Landscape image to depict the season we are leaving behind.

LensBaby: Product Demo

2010-10-21T20:56:00.001-07:00

Last weekend I had the luxury of test driving a very interesting lens. Lensbaby in conjunction with Hunts Photo and Video did a demo day. Participants were allowed to sign up and sit in for a short seminar with an instructor; to learn about how the lens functions. Our instructor, Steve Dunwell of Boston did a fantastic job of explaining the key characteristics and functions of this lens. Each of us was allowed to use the Composer The Lensbaby mid-level piece of glass. What really distinguishes these lens from any other 50mm lens is the fact that they can shift the plane of focus and create a suggestive and selective blur. Once you dial in the focus, you can then rotate the lens left, right, up, down, side-to-side, or corner-to-corner. This shifts the glass pulling the depth of field in and out of focus. A Lensbaby functions similar to what the View Cameras, (large format cameras 8x10, 4x5), would do with their bellows and focusing systems. However, the difference being is they are not designed to function as a device used to correct the distortion and correct the horizon or view plane. This means you can not use a Lensbaby to compensate for a building that is skewed in it's perspective.

When I signed up for the event I had one thought in mind, I must use this lens to do some portraits. As a wedding and portrait photographer, I am most concerned with how I would be able to integrate this lens into my daily shoots and photographic practices. This lens would actually remove a step in my post production when I blur some of my vignettes and would allow me to create some very dramatic and visually appealing photographs and portraits. During the instructional lecture on how the lens functions I was very anxious and antsy. I just wanted to get out and give this baby, no pun intended, a shoot. I was developing a set of ideas to work with and how I wanted the lens to function for me. In terms of this being a gem in my box of lenses, it was very important that I see just how it would function on a portrait shoot. So, to add to the lens I had to have a set of lights with me to light my model. I carried with me a Profoto strobe and a Vegabond to power the light, to illuminate my model. Included with the Composer was a little case that had disks. The disks are actually magnetic aperture rings. Starting at f/2 you can add stops up to f/22 to control the light coming in. This is set in place because there is no electronic communication between the lens and the body of the camera. You can increase your camera ISO and shutter speed to compensate the loss of functions, but the disks are used to do this. The rings also allow you to adjust the depth of field, which with these lenses is already extremely controllable with the tilting and shifting.

When I began using the Composer, it took me a few minutes to get used to adjusting the plane of focus and get used to seeing through the lens. It is not like buying a new prime lens that shoots and captures sharp details. This lens functions to give you blurry, creative, subjective/suggestive, images. I highly suggest getting your hands on one and seeing just what you can do with it. Below are a select group of images from my shoot/demo of the lens.

This lens is very practical for capturing detail oriented images. Having the ability to shift the plane of focus can give you the options to place the focus in a composition where you want it to be. You can in theory direct the viewers eye where you want them to see. What I found to be very compelling is how the blur creates a finer notice in the detail. As you can see in the next few images, the finer details of the architecture jump out at you as they become more prominent in the composition than normally would be if you were to stand and view them.

The Composer is a great lens. It offers a plethora of choices and is extremely versatile and can provide you with priceless images. The cost of the Composer is set at MSRP $270- I have seen it dip as low as $220-. The Muse, the entry level lens, lists at $150- We did not get to use them, so I am not sure how that one functions in terms of selective focusing. The higher of the three is the Control Freak I worked with a photographer last winter who used a Control Freak in his shoots. He was making some beautiful portraits of his clients. The first expression they would make when seeing the Control Freak was a look of inquisitiveness. Next would be the, "what the heck is that on the front of your camera?" It was a great subject for conversation and produce one of a kind images that allowed him to stand out. In short, these lenses are worth the investment. Had I not just replaced my daily wide angle, I would have purchased the Composer on spot. That investment is going to wait till 2011. Purchase one, have fun, and happy shooting.

Vintage Tripod

2010-08-27T11:38:00.001-07:00

Recently I received and email about a vintage tripod, well more or less an antique tripod. I do not know very much about appraising the value of antique camera equipment, but I do know when a certain piece is very much sought after. After reading the email, I needed to see this described beauty. I received a few images, pictured here, and knew that what I was looking at was exactly what I was going to see. In the few years I have been collecting cameras, I have yet to see one of these in an antique store, or really for sale for that matter. This usually means something is either rare or that people just do not want to sell them and much rather keep them. Personally I would love to acquire this piece, but as it stands I am upgrading my studio equipment and can not budget it into our studio fiances.

I have been noticing a lot of designers and interior designers have been utilizing vintage camera equipment in their sets, stages, or living spaces. A tripod of this age and era would make a fine addition to a living space, studio, loft, apartment, or any where you would basically like to see it set up or hanging even. I have some in depth information that was provided to me in one of the emails. It is rather interesting who had owned it perviously. The name and individual make this piece that much more collectable.

Details from the nameplate:
Professional Junior Tripod
Model 10
Serial #1396
Camera Equipment Co.
1600 Broadway, NYC
U.S. Patent No: 2318910
(Patent applied for on August 4, 1941)

The legs extend 64" and there are two intact liquid levels in the tripod head.

" This tripod was acquired from Joseph Napolitan, considered the "Father of Political Consulting" and the man who changed political advertising forever with the use of film and television. He was instrumental in getting Ferdinand Marcos elected in the Philippines. With every few televisions on the island, Napolitan had the idea of making films of Marcos, ( and his wife Imelda) and setting up trucks to fan out across the island with projection equipment to air the films in remote villages. Napolitan worked on Hubert Humphrey's and the Kennedy brothers campaigns as well. He was a pretty amazing guy, other than the fact that some of his clients turned out to be dictators after being elected. "

So basically, this tripod is a piece of history and more than just someones old piece of equipment. As with most of the history of photography, some of the more serious cameras and pieces of equipment were owned by the movers and shakers of their era. Certain items couldn't be afforded by the average person and were owned by the wealthy or the professionals that needed them. Like I had mentioned this tripod is available as a collectors pieces. Recently, the same tripod sold on ebay for $700.00 The asking price on this particular item is at about $500.00 plus shipping, unless you are located in New England, or Massachusetts, then buyer could arrange a pick up. It still functions well, although, I do not see a Canon 1DS Mark III sitting a top it, I do however see a Vintage 4x5 perhaps making home with it, in a studio or in a living space. You can contact me if you are interested in purchasing it. I would hate to see it collect dust when it could be loved and admired again.

Travel Photography: Philadelphia, PA

2010-08-08T14:48:00.000-07:00

I had a few personal goals this summer. Traveling and being some place new was high on my list. The other little things, they aren't as important. But, I made it a point to at least travel a small distance. I wouldn't have had the time or the budget really to escape to Europe like I am planning. So, I was able to do just that about two weeks ago. Just over 8 days ago I arrived back from an amazing trip in Pennsylvania. A very special person in my life invited me down to stay with her for a few days before she moved to the UK. Realizing that this trip would be just what I had wanted for my summer, I did not hesitate to pass up the chance to see Philly. The trip was planned out over the spread of a week. Work was wrapped up and one last wedding was photographed the day before I left. Being a small wedding, I was able to edit all the images in time to leave and have nothing to worry about for a few days away.
On Saturday morning, I put the last piece of equipment and luggage in my car, my camera. I kept it with me between the two seats, as I always do, because you just never know when you're going to need to reach for it quickly. Stopping at the closest Dunks, I grabbed a coffee and headed for the turn pike. I made my way up the on ramp, looked in the rear view mirror, and didn't look back for the rest of the trip. I made a few images while driving down. I was more or less thinking along the lines of as documenting my trip down, via car.

With traffic and three stops, nearly 6 hours later I reached a very beautiful rural town just North of Philly. I was greeted with a smile and a hug that would make anyone feel welcomed. That was the start of an amazing weekend in which passion, creativity, and art were shared, discussed, and experienced. Saturday afternoon we relaxed and spent some time looking at photographs and just enjoying the first few moments of my trip. Dinner came very quickly. It was already planned out for us what we would be having. I chopped and minced some herbs and cukes while the rest of the meal was being prepared. Side by side we cooked what became a very interesting dish. Bulger, the main ingredient in Tabouli salad was something I had never heard of before. I am not a culinary genius by any means, but I have been watching Anthony Bourdain’s No Reservations, so I must know something about food, to an extent that is. Or, at least I hope I do.

But I was very anxious to try the dish that we prepared. Warm, grill-toasted pitas were what accompanied this wonderful mix of fresh vegetables and herbs. This culinary delight was the start of my adventures in new food tastings for my weekend in Penn. Needless to say, that the Tabouli was a wonderful and pleasurable experience. There was enough left over that we were able to enjoy a nice lunch with it a few days later. Having had the chance to sit, the herbs came together to form a stronger flavor and tantalize the palate. I am sure I will be enjoying this again shortly. After we enjoyed a dinner of conversation and generous hospitality, we had a few minutes of rest before getting ready to head to the city to have an adventure in music. We arrived to a very eclectic and uniquely decorated hotel where the sounds of the band were already playing. Making our way past the door man, we greeted some family. The sounds of music brought out family and friends and gave myself a chance to meet some very welcoming people. Over a beer, we discussed art and photography. It fast became a surreal moment, being caught up in the discussion while sitting an a very European looking setting. The hotel had this old world, almost Irish appealing quality about it that brought me to a new place. Lots of smiles, lots of laughter, and a genuine happiness to be there made for a very pleasant night. The sounds of the band carried on as we said good byes. We sat in the car for a few moments before departing the city. Truths and desires were shared and future memories were created. It was an emotional yet passionate discussion between two people that one could find in lesser contemporary movies. Calling it a night, we drove back to the house. Sunday was going to come fast and by then I was starting to feel a little exhausted. A nice comfortable bed sound good at that point. The road home was very quick, not a lot of traffic occupied the road, which made the drive shorter than the the way down. It was still a sight-seeing trip back though. The architecture in that area is just amazing. It has this euro-stone feel to it. Unlike the modern, newly constructed homes and buildings, these seem to present the area with a personality and decorate the cities. It redefines the term, curb appeal. The head lights peered through the neighborhoods. Stopping behind my car and in front of the house. That was the end of my first day in Pennsylvania.

Sunday came quick and we had certain time we needed to be ready for. We had plans to meet a friend of at the Barnes Foundation. If you are unfamiliar with whom Albert C. Barnes was, you can read about him here on the Barnes Wikipedia page. Without to much detail, I will say this, Barnes collected art. He collected a lot of it and his foundation, though it is going through some hiccups, holds a massive collection of Cezanne, Renoir, and Matisee paintings. His collection is from the Impressionist, Post-Impressionist, and Modernist periods of art. One of the major, and seemingly largest paintings we enjoyed was by Henri Matisse, Le bonheur de vivre. Eagerly we took corners and rooms, each with a surprise as to what we would see next. I happened to see paintings I studied when I was going to school for art and photography. Paintings that in real life took my breath away. Like paintings by Georges Seurat. I have seen some photo reproductions of his paintings. Pretty interesting to see people duplicating paintings with photography. Unfortunately, I was not able to have my camera join us as we strolled through the small rooms filled with paintings by the masters. We met with a friend. Discussed some art and some other off the topic conversations. We made plans to reconnect after lunch for some portraits and some dinner. We were starved and ready to move on from the art. We had a chance to see pieces of art that both made an impact and an inspiration on our own work. Lunch was very interesting. There are stores spread out in the Philly area called WaWa. On my way down I had heard commercials on the radio advertising them and their "Hoagies" Hoagies are what Subs or grinders are to New England. However, WaWa is much better than Subway. You walk in, use a touch screen to order what you would like, and minutes later your number is called. How convenient is that? I had always thought that restaurants needed a touch screen ordering system. I guess that is step one to reaching that. We ate and enjoyed our lunch while the rain started to come down. We sat in the car for a few moments waiting for it to let up before heading out to Philly to meet up with rest of the evening. By the time we reached Philly, the rain let up and it became sunny once again and gave us some great light to work with in terms of shooting. This was the first chance I had really had to make some images.

Being in such an historical city, you might think that I would have done the touristy thing and over shot the landmarks. Well, I didn't and would not have. We were pressed for time, had plans, and made portraits and photographs that are more meaningful than capturing the bell. Granted it would be nice to see those some day, but it wasn't immediate on my list of things to enjoy while in Philly. Instead, I made photographs of the things that mattered, were important, and of how I saw Philly. We were privileged to be have a nice penthouse to shoot in and provided us with some great views, outstanding light, and a chance to work on some fine arts images. Before we made some portraits, we headed over to this great restaurant bar called Eulogy. Eulogy is a great little Belgian Tavern located on 136 Chestnut Street in Old City, Philly. We had a beer each and got a little more acquainted. Their list of beers was longer than most restaurant menus. I enjoy Belgian beer and knew that I would like a lot of what they had to offer. I do however, regret not remembering what I had ordered. But, if you are passing through Philly, I suggest you make a stop there if you are thirsty or just want to take a few minutes to enjoy the environment the staff creates.

Old City Philly has this feeling about it. It is unlike Boston and New York City. I've lived in Boston and have seen enough of New York City to know there are so many differences between them and Philly. It isn't due to their size difference. Philly, steepled in history as being a founding city for our country still has old world characteristics about it. This is especially prevalent in the fusion of contemporary architecture with the historic structures and layouts of the city. When I travel or visit a place of immense history I become mesmerized by the possibility of who walked those streets before me. Some pretty important people once occupied Philly, as well as visited and walked the same paths I could have taken. I feel the same way at times when I walk down certain streets in Boston. I feel as if at times I just appreciate what was created for us. We passed a few narrow streets, buildings that look as if they have been standing since 1771, lightly stepped on the cobble stone streets. I did a lot of staring, seeing, and wondering while being amazed. Philly, unlike Boston, and New York City at times, always had a photographic opportunity. Every where I looked there was someone or something waiting to be captured. I could have spent so much more time capturing how I saw the city.

After Eulogy, we headed back to a penthouse suit to do some portraits. That evening was more than just about making artistic portraits. It was about talk, forging new memories captured by images, and saying small good byes as friends enter the world to concur new adventures and see new places. We spent some time shooting, making some great portraits, and fast became very hungry. Calling it a wrap, we organized everything, and before I knew it, we were back walking on the historic streets of Old City. I was excited for every chance to see the city. As we were heading out, the sun was just about the end of the golden hour. It was close to being completely set.

For the first time I got to experience Tapas. Not ever having been to Philly, I was unable to decide where to go. I was ready and open for something new and exciting. That was just what was in store for me. We made our way over to Amada Amada is a spanish tapas dining experience in a trendy and professional environment. One thing that I really appreciated was the table in which we sat at. The tables on the bar side consist of what looks like some very old reclaimed wood. Their decor is a contemporary mix of old and new merged together to enhance their delectable menu. We started with Sangria. Blanco is a mix of white wine, appel, pear, and orange. Myself, I had Tinto, which was a combination of spiced red whine with orange, apple and cinnamon. It was such a great combination and made think of the approaching autumn season. Our dinner consisted of a few variations of tapas. We ordered a few plates and shared them. Now, if you are unfamiliar with what tapas are, or haven't already googled it questioningly, then let me explain. Tapas are small portions of food on a plate. It is not you average piece of food. It is a dining experience that consists of portions of food with flare. We had four plates Queso Deagabr Baked goat cheese, tomato basil and almonds. Patatas Bravas which are spicy potatoes. Very delicious. Accompanying these two plates were two more wonderful dishes, Pulpo A La Galleg, Spicy Octopus and Piquillos Rellenos, Crab-Stuffed Peppers. After dinner we had an amazing desert. Pastel Con Escabeche, A warm brown butter cake with seasonal fruit escabeche and almond ice cream. After some slight hesitation, my spoon dove in and I took a bite of surprise and happiness. It was great. The flavors of the fruit, cake, and melting ice cream came together in one delectable bite. A short time later we were walking back to the penthouse to grab our belongings, equipment, and say a good bye or two. From there we headed back to call it a night.

Monday morning came quickly. Plans change quickly some times. We had a day planned to go to the Philadelphia Museum of Art. But, being like most museums, they were closed for a Monday. It would have really benefited our day to be in the city again, as we had dinner plans that evening in South Philly. We took a short trip to this little area that was filled with shopping, dining, a not so good coffee shop. Kind of like a Friendly's type diner. There was however a cheese shop that looked promising. But, it was closed. We ended up in a Native American store where there was some amazing pottery and a beautiful teal/aqua ring that made its way on the hand of the woman I was visiting. She was very eager to purchase it. The ring really made her eyes come to life. Shortly after that, we made a few photographs and headed back to get ready for the dinner party we were attending later that night.

Our drive into South Philly brought back a reminiscent feeling of Holyoke. The city in which my studio resides. There of course is a vast difference between the two cities. South Philly just being an urban outer section of Philly, kind of like a borough, is not similar in layout and history like Holyoke. But the way the buildings line the streets and how the people appear to live is similar to parts of Holyoke. It was a unique but nice area in terms of being an urban landscape.

A few knocks on the door, a slight pause, loud barks and greetings from family and dogs brought us into a very nice evening. After the greetings came great conversations and amazing food. This was day 3 of my culinary adventure in Philadelphia. Fresh Mojitos, a tomato appetizer (blanched tomatoes soaked in vodka for an hour, served with a salt and pepper season), fresh salad, and an amazing pasta dish with the freshest mozzarella I have ever had. Our dinner was well prepared by our host. Everything having been so fresh made for a more appetizing dinner than what you will find in most restaurants. It was an intellectual evening that embraced discussions from music to art to politics. Of course, business was discussed as well as a brief discussion of ones career, education, and job. It was a very stimulating evening that was brought to an end with a great desert. Peach pie, something I normally wouldn't eat, was very good. I am not a huge fan of peaches, but this pie reminded me of my grand mothers apple pie, which only comes once a year, so this spoiled me and left me excited after having ate it. Saying good byes, it was a pleasure to meet yous, we found ourselves exiting the door, exiting South Philly, and on our way back for the night. Tuesday was going to come very soon. Tuesday was my final day in PA.

Tuesday was supposed to have been a day at the Gardens and a very nice Vineyard. But the Philly Museum Art need to be visited. The change of plans came because of the Museum being closed on Monday. Our day Monday started a little later than we had planed and with the dinner party in the evening we wouldn't have had the time to get to the Gardens or Vineyard and have made it back in time. So on Tuesday we enjoyed a nice breakfast and made our way to the Museum. I was so anxious to see what was inside the walls of this massive building.

Two days prior we saw a massive collection of Renior. That was one exhibit we could by pass to enjoy the rest of the Museum. I could spend another two hours discussing what we saw. To spare the boredom of art criticism, I will just say this. Visit the Museum. There are pieces of work that I learned about and studied while in school for art and photography, and to be able to see these pieces of art were breathtaking. It is almost indescribable to try and explain the feeling I get when looking at a Picasso. I was introduced to some new artists that I had never seen before, such as Miro, Demuth, Modigliani. Of course I did see Van Gogh, Degas, Picasso, Manet, Monet, and one of my favorites, Seurat. I walked into one room of the Philly Museum where I was greeted by

Cy Twombly. (Pictured above) His work moves me. Well, some of it that is. I had an art course once where the professor suggested I study his work based on the types of mixed media paintings I was working on. Yes, thats correct, before photography I used to pre-sue other forms of art. Because of this trip, the passion we shared, the creativity, and the works of art we saw, I will be experimenting this fall with some painting. I was inspired by what I saw and what we discussed. Art seriously impacts photography. There is such an inspiration that can be drawn from both genres. As a photographer, there are certain pieces that I find compelling to look at and can draw inspiration from. Especially artists like Degas who frequently made photographs as part of his studies and work. Degas wasn't just a painter, he was at times a photographer.

We had a few hours to enjoy the Museum before heading out to another exciting location. Before I venture off to that topic. Above you will see an image of a robot. It is a robot in the cross walk. I have seen that robot before. Not located in Philly. It was about 280 miles north in the city of Northampton, MA. I do not know the story of such bot, but I am sure there is good reason as to why I have seen him twice in two different parts of the country. After the Museum, we headed down to Old City once again to visit the Historical Society. My beautiful tour guide and host at one point and time had worked there. I stood in the preservation and conservation room. I was surrounded by documents, books, and other works that were hundreds of years old. I unfortunately do not have anything visual I can write and share. I can say this Martha Washington had an impressive cook book. I was given the opportunity to step into a building that housed some important documents and meet the people that are the ones to conserve them. It was very interesting and very inspiring. We stay for a minute, it was a chance for my beautiful host to say a good bye before she left the country. It wasnt really a good bye, more of a good luck to you and an Ill see you when I see you. That is term that I like best when saying see you to someone you know you wont see for a period of time. We finished up with our meeting there. By that time of day it was nearly 5pm. I was planning on leaving for 6pm. Being in the city, hungry, and about 45 minutes from the house, I didnt see that working out like I planned. Which for me, was not a problem. I was happy to stay later. We made our way over to a little sushi place just a few blocks over.AKI Japanese Fusion Bar and Restaurant provided us with our last decadent dinning experience in Philly. We ordered up a nice beer, some sushi, talked, discussed art, the historical society, and the future. It made for a peaceful final meal. On my end of the table, the emotions were heightened as the, "Ill see you when I see yous" were on my mind. What seemed like a surreal vacation was fast ending. Below are the last images I made in Philly. They were made just before the Historical Society and just after Sushi. Take note of the man in the cross walk. Sometimes images are just presented for you to record as in the case of this man using binocular hands to view a woman across the street.

Ending our dinner at AKI, we walked back to the car and said farewell to Philly. I will be back again some day. The ride back was a little quiet. It was a little emotional as the vacation was now coming to an end. Our conversation became serious and quite sobering in an emotional way as we were approaching the house. We spent about another hour talking as I began packing up and getting ready for the road home. To understand more as to why there was a high level of emotions being displayed by us, Mandy was at the time getting ready to move out of the states. Upon the publishing of this she has now be out of the U.S. for a few days now. It was the last few moments of being together before she moved. We continued talking as I prepared to leave and make the trip back. It was getting considerably late to be heading back. By the time I place all my equipment and belongings in the car it was just after 9. I had a 5-6 journey home. One last hug, a few more words, a wipe of the eyes, and the car door was shut. Heading up the street to exit the neighborhood, I took one final look in the rearview mirror, smiled, pulled out on to the street and made my way to the gas station to fill up.

I made my way to the WaWa one last time to get some gas. After fueling up, I grabbed my ipod and got on the road home. I had a journey a head of me. I wasn't ready to leave, I had to be back to the studio though and there was work lined up for when I arrived back. It was a great vacation of passion, brilliance, art, inspiration, great conversations, and new photographs. On my way home, I made a point to keep my camera in my passenger seat to document the road home.

It took me 6 hours to drive back. The time did not go by slow. I had a chance to think and reflect back on an amazing trip. I made images that were not typical, nor expected, but show how I saw Philly. It was a great trip and what came out of it can only be described by words similar to passion

The Tougher Side

2010-07-21T12:42:00.001-07:00

In a previously written post, I had mentioned having had a computer melt down. Literally, thats how it went down. There are certain, how shall I say it, not so positive, very un-condusive problems that can arise from needing to replace your entire computer network. Basically the system I had, need to be completely replaced. Which is fine, totally wanted a new and much faster mode of post-production, but when it is sudden and comes with a detrimental force, it can cause a ripple in your work flow. It did just that. Having rebounded from the backed up work, I am still left without a blogging software comparable to what I was using to write for Lenshare and Holyokeinphotos Windows Live Writer allowed me to do things that no other software has thus far. Granted, if I was using Wordpress, this article would not exist. But, I am to suffer till I find the happy medium I once had.

Here are a few shots from the shoots I've done over the past few weeks.

Photo Talk

2010-07-04T20:22:00.001-07:00

Two days ago I visited the William Baczek gallery in Northampton Ma. When this gallery comes up in discussion, more often than not, the conversation leads to this gallery being one of the best in Western Ma. I typically take 1-2 trips in a month to admire the new work that is up. Friday evening when I walked in the door I was greeted with some familiar pieces and a few new pieces that I have yet to see. Moments after I made my way into the second room, the woman behind the desk approached me. Soft spoken, kind and gentle words, she politely asked me not to make any photographs of the art work. In a state of serious disbelief that I was just asked this, I responded by asking if this was a frequent problem. A quick conversation developed about the idiocy that people have been developing over the past few months. Apparently people think it is ok to wallace into a gallery and take their point and shoot out and snap a picture of a piece of art. I expressed that the thought of duplicating a painting had never entered my mind and that I think it was ridiculous someone would do such a thing. Making a picture of a picture, painting, piece of art, etc is copy right infringement. I asked if they enforced deleting the picture before the person left the gallery. To which she responded with a wide eyed yes. She even explained a for instance when a woman didnt know how to use her camera and she had to go through it with the cameras owner to try and figure out how to delete the image. I really was in disbelief that people have the nerve to walk into such a prominent gallery and take a picture of the work hanging up. I commend the woman for having approached me and informed me not to do so. Even though I would never do such a thing.

After browsing the art that is hanging on the walls, I further engaged in conversation with the woman behind the desk. She saw my camera, draped around my shoulder half hidden behind me, for the second time and asked me if I am a photographer. To her question I responded with a yes. After our conversation, during my walk around the town, I began to think about her question. Just because you have a camera, does this make you a photographer? To this, I say no. Just as much as having a bike, doesn't mean you're a cyclist. To the average person with a camera, they take pictures. Mere snapshots, if you will. Photographs, represent more than just a simple snapshot. Cameras are a tool for pictures and photographs. Pictures and photographs differ in numerous ways. A subject for another discussion. However, just entering a fine arts gallery can make an impact on how we think about more than just the subject of art within the context of the walls holding the pieces. It can lead us to a more subjective and literal meaning on other subjects. In my case, it was photography.

Since I am discussing art, galleries, and photography all in one post, here is a panorama of a sculpting studio I made just over a month ago.

A thought...

2010-07-02T23:28:00.001-07:00

Summer has been upon us for a few weeks now. We have had a few days leading up to these warmer days that were pretty intense in terms of the heat. But now that summer is actually here, I mean the real days of summer, I have a thought. Every year a few weeks prior to the 4th of July people break out the fireworks and start to enjoy summer. It usually takes a week or two after the 4th for the independent displays of fireworks and celebrations to come to a stop. But for those few weeks, the sounds of the fireworks going off in neighborhoods across the area, the brilliant displays that illuminate the summers night sky, those are the moments that define what summer is becoming. Each year I await these moments to come, to bring about a set of memories of my childhood, images that I recall as a child having created in my mind. Sadly, this year I think I will have made it to one display of fireworks and that was last week. No doubt the images I created last week will occupy my mind till I can no longer envision then. But last year, last summer, last 4th of July, I created a set of images that will not soon disappear.

I am of course speaking purely of images representing memories. After all a photograph can be both one that is tangible, the image we capture and hold in our hands, or it can be the mental image that we capture with just our eye and hold within us. It is the image that only we can see and hold. This summer, this 4th of July will not compare to last year. A few reasons. One being the most obvious is the workload that I am investing a great deal of time into. This summer holds for me 3 exhibitions. After having finally getting my computer situation all figured out, or so I though, I was faced with yet another dilemma. My film scanner and my new iMac are not working together as they should be. Small detail that shouldn't have happened that really put a twist to my September exhibition. But never the less, things work out as they need to.

Below are a few sample images to show what I have been working the past few weeks. A lot of new work has been done. I have been pushing the boundaries in terms of what I have been trying to convey. This was a very simple article that turned into a little bit more. I am writing a very informative article that will be posted shortly.

Welcome me back...

2010-06-20T23:24:00.001-07:00

The title is more or less supposed to be a whimsical joke. I haven't really left. I apologize for having not made an article in such a long period of time. It comes with very good reason as to why I have been so absent. The first major issue that I had to tackle was the loss of a computer. Three or so weeks ago my process melted to my hard drive in my pc. Sounds horrible, doesn't it? Well, it is more or less one of the worst things a photographer can go through besides a camera failure or break/loss. Short story explained, massive shoot, same night computer goes down, next day spent figuring problem out, following day hard drive replaced in new external case and the purchase of a brand new, very sleek, ultra sexy iMac. I went from pc to iMac and have not regretted it one bit.

The next major issue I have had to face is the software I used to use to write my articles. I used to use Windows Live Writer for all my articles for Lenshare and for holyokeinphotos.com It has taken me a little over a week to find the write piece of software to use to write for my blogs. I sure do miss Live Writer, however, I am hoping that Blogo works the same for my Mac as Writer did my for my pc.

The next and most exciting reason as to what I have been so unavailable to write my articles is.... THE NEW studio location we have just entered. We have moved from our previous location, a former office space to a much more contemporary studio located in a beautiful former mill building, located in a very industrious city. Holyoke, MA is a former industrial city bouncing back from a period of social and economical decline. Which makes our new location a post-industrial contemporary studio. The photo below shows one part, a very interesting feature in our space.

This view is a rarely seen view of city hall and the pack, (that is through this door). Below are a few other images from the building.

The following image was made from a different location within our building. There is a secondary section that used to be a rubber factory.

These windows occupied the space that we are now in. It was these very windows, my search, and need for them that lead me to the interior of this building.

My next article will be featuring a group of portraits I made in the new space. I am not going to get into any detail about this next article at the moment. Please stay tuned for more to come.

Panoramas and more…

2010-05-27T23:08:00.001-07:00

Every photographer has that one very special person that is your biggest fan. It could be a friend, a relative, a significant other. It could even be your 79 year old grandmother. However, there really is one person that out weighs the rest of the people you know, who admires your photography. Traditionally, from what I have seen, spouses and significant others tend to be the biggest fans. I have quite a few friends, clients, relatives that like my photographs. The clients love them, or they wouldnt keep coming back, but there is one person. One person that just admires my work to the point that it makes a difference in my life, shooting, and way I perceive what I am viewing in life and around me. On Sunday, in addition to what I wrote below, I had a chance to stop and make a few panos that exist because I want you to see the moments I see that make me think about you.

I made these for you. The moments like these that I see, are the moments I want to share with you. It is places like this, moments like these, that have made me stop and think about you.

This past Sunday was the 2nd of two Sundays that was pretty adventurous in terms of getting out and finding a few places to make photographs. Two of the 3 projects I am working on requires me to get out of the studio and shoot. In doing so I have managed to find myself in some pretty awesome places. You can read a more in depth article about the first Sunday Here on Holyokeinphotos.com

This past Sunday has brought me a very good opportunity for our studio. Just this week, we found out that we will be getting an influx of unexpected portraits this summer. So the space that I had found on Sunday has subsequently became a temporary second studio for our business. Click here to see our studio True Resolution While making a few photographs outside the building, I was approached by the two owners. They were very inquisitive as to what I was shooting and why. After a brief introduction, they showed me the interior space, a set of windows I needed for the major of the two projects I have going. Saturated: A Colorful Photographic Exhibition of Contemporary Holyoke Below you will find the images I made of this building. There are a few panoramas I have made from that space and a few made from later in the evening.

The windows you see as an installation piece are no longer standing and the space is going to be cleaned up and utilized as a second studio. We are excited to be shooting in this new space and having a fresh look to our portraits. Our current studio will continue to serve as a smaller space to shoot in, do all our editing, and a place to meet our clients, while this new space will give us a more dynamic space in which to shoot.

Polaroid: Looking back.

2010-05-08T12:08:00.001-07:00

During a web crawl for some cool things to share here on Lenshare, I came across an good read on the Boston Hearld website. MIT was given the first Polaroid camera ever invented. You can read the Article Here: MIT gets 1st Polaroid camera. Being a photographer, I feel like a fool for admitting this, (especially considering I come from MA and lived in Cambridge last year) but I was unaware that the first instant camera was invented in Cambridge. I am sure there are quite a few individuals who did not know this. But, regardless, being so close to the epicenter of such a profound intention, you would think one would know this. Considering I have studied the History of Photography. Currently, there are a few of the first Polaroid cameras ever invented sitting in an undisclosed antique store awaiting my eager purchase. I have a plan to revitalize said camera and use it on some commercial shoots we are booking. I wont say the nature of these shoots, as it is a surprise to the client. But in the spirit of MIT receiving something of immense value to the Cambridge Community, as Cambridge is home to some prolific inventions/inventors, I have gone ahead an pulled together some interesting links for you to read. This will open up the history of Polaroid for you and give you a comprehensive knowledge of where the camera came from.

If you are from my generation, you may remember this camera. My grand mother used to have one and always made sure to have film around where ever she took it. As a child, now this must have been a precursor to future, I was always so damn curious and interested in playing with it. Granted, my parents of course had a “real” film camera and always had that around, this just seemed so much cooler to play with. It really is a shame that as a company, Polaroid failed. Fuji currently has the rights to produced the beloved film. There are a few cameras out there being sold that still use Polaroid film, or the equivalent of. If you are a contemporary fine arts photographer and know what a Holga is, then you maybe aware of and or using a Holga with a Polaroid back. The average cost of the back is $129.00. The cameras range from $30-$100 depending on the model you are interested in purchasing. I own three Holga cameras and use them frequently in some of my work. I have yet to acquire the Polaroid back. I am anxious for them to produce a Holga digi upgrade! If you get a chance to play with the original land camera, named after its inventor, I suggest doing so. It was a mile stone for photography and opened up the medium to what we now have today, Digital Photography.

Links about Polaroid Cameras and Film

Wired: Polaroid Camera

Polaroid on Wiki

Historical Cameras dot blogspot

Polaroid on: The Art News Paper

Polaroid Film Reinvented

Polarizing Filter: The right application and where to use them.

2010-04-18T11:27:00.001-07:00

Polarizing filters are among the fewest filters needed in digital photography. The days of lugging around a massive collection of filters to use with the film you are shooting are, well, over. Inside my camera bag I have one filter. A SunPak Polarizing Filter. I have had it since I have had my DSLR. It has been a great addition to my camera bag. I am going to show to examples of what a Polarizing filter is needed and used for.

I have a pair of not-so-expensive pair of sunglasses that I bought last year. I bought them at the mall, thinking they look great, but they wont be that great. I was wrong. They are polarized with a warm tone to them. Yes, I said warm tone. They offer a warmth about them that combined with the polarizing lenses makes viewing everything more beautiful and enjoyable to look at.

I have been thinking about landscapes a lot more lately as the weather is getting nice and the trees are filling in. On my way into my studio last week I finally decided to stop and make a few photographs of this one particular area that I pass quite frequently. I took out my camera and my filter and mounted it to the front of the lens. Now, before I got any further, I must explain that filters can be a little tricky to use. During my search to find the right page to link to that has the filter for sale, I found negative reviews about the product. This particular filter requires a little bit of knowledge before you just go and slap it on and make photographs. The two sets of images below will give a visual to assist in the explanation. A polarizing filter is designed to intensify the blue in the sky and make the photograph pop. It also adds a little bit of contrast to further increase “the pop” that the photo will have.

Without Filter With Filter

If you look closely at the image on the left you will see that it is over exposed. You could take the image into photoshop and or lightroom to bring down the exposure and brightness a little bit. However, this is one more step to your work flow that could have been avoided by using the filter. While I was making these photographs, I did not have the intention of writing this article. But, it came to me while I was shooting. So, what I did was take the filter off and made a photograph. Both sets of images, the top and bottom, all have the same camera settings. The photograph without filter is set to ISO 100 F4.5 1/180 sec. Which is the same for the photograph with the filter If these numbers are alien to you. Let me explain, ISO acts like what film speed used to, allowing the light to pass in fast. F 4.5 is the f-stop the size of the opening of the lens. Rule of thumb I created when I was young, smaller the number the larger the opening, which allows the most light to come in, 1/180 refers to 180th of a second, the time needed to make the exposure. It took 1/180th of a second to expose the photograph.

Basically when you are going to use the filter you have set the camera to give a slight over exposure. As you can see in both sets of images, the scene is over exposed. When you place the filter on the lens it brings down the exposure. Polarizing filters require more exposure in order to function properly. Polarizing filters require a +1 - +2 increase for exposures. (If you notice the image of the filter above, you will see that it is very dark for a filter, in comparison to a UV filter, which is clear and used to protect the front of your lens) This means if the meter in the camera reads the landscape at 1/250 you need to pull it down to around 1/180 with the filter. One thing that I did see while reading the very harsh reviews of the filter was that it was hard to focus the lens in. If this is the case, simply set the camera to manual focus. 90% of my images are made using manual focus. This allows me to set the focus to get the sharpest image possible. I have noticed with some lenses, using it on auto focus can leave the image with a slight blur. Regardless, if you do experience a blur, just make sure you set the camera or lens to manual focus.

Without Filter With Filter

Landscape photography is basically the only application in terms of using a polarizing filter. Think water and sky when you think you need to use a polarizing filter. You wouldn’t want to be using one for shooting portraits. Using a polarizing filter will cut down on the editing and post-processing you will need to do to your photographs. The image with the filter has a slight vignette to it and that is it. Everything else was made in camera. If you decide to search for other reviews of the lens, make sure they discuss how to use it before the make accusations about the quality or worthiness of the product. The review that I read makes no warrant as how the product functions or the application (landscape) in which needed. It is a review written without idea as to how it works, functions, or when a polarizing filter is needed. Filters are sold based on peoples ability to use them. Though the Sunpak is a cheaper more economical purchase, it functions just as good as the pricier ones. And the examples above show for this.

Wikipedia and Filters

Hoya Filters are arguably the best to use. They are more pricier.

Below are three examples of HDR images that I used a Polarizing Filter on to increase the dynamics even further.

Portraits

2010-04-06T16:42:00.001-07:00

A few times a week I pass this location. In fact, I pass by a few times a day depending on how much running around I have to do when I am not in the studio. It has been about 2 years now since I have seen this composition. Today, (image on the left) the window was open and the curtain was knotted. I passed by saying “today is the day I make the photograph.” So, I ran and grabbed my camera and went back and spoke with the barber shop owner. Delighted, he took a seat and posed as how he can be found sitting on most days.

It may have taken two years for the right moment to happen. But it is an image that I have not forgotten about. There is a moral to this article, never forget about the simple compositions and if you see the right moment, do not pass up on it. After 2 years I am finally satisfied with having made this photograph.

Videos: Interesting Youtube videos.

2010-04-01T23:01:00.001-07:00

Canon 5D Mark II DSLR Review

Contemporary issues facing photography.

2010-03-27T21:10:00.000-07:00

I just finished reading two great posts on Frank Wards blog The Coruscating Camera. Frank is an outstanding educator. As a photographer he is equally gifted and talented. His blog always provides a wealth of resourceful information that at times still further educates me in various parts of the photographic industry. AIPAD or iPad, one of his recent posts describes his trip with colleagues to AIPAD Photography show in New York City. The AIPAD show, "70 of the world's leading fine art galleries" brings together some of the most noteworthy and iconic photographers we have seen. I have for years wanted to make it to AIPAD, but it just seems that every year it comes around, I am working on something and can not take the time away.

As I progressed through the article that Frank wrote, I started to think about some of the contemporary photographic issues that we are starting to see. Digital photography has made it easier for Joe Average to go out and buy a camera, make some images, edit them beyond near recognition as a photograph, and call himself a photographer. This Joe average falls into what I like to call, a happy snapper. The individual who takes pictures of everything and anything he sees with minimal creativity or technical and compositional know-how. This issue can make it hard for pros trying to do their job. This is most prevalent at weddings when cousin Tommy has a camera with him and tries to piggy back your shooting hoping he can get the image that you are and give it to the couple as a gift. This in theory can take away from your business as a professional. This is a staggering issue that I see. However, I have a feeling that we are going to see a social plateau of photography very soon.

People are still getting acclimated with digital photography as the industry is pushing away from analog (film and darkroom, i.e the disappearance of film) and making way for more technological break thorough in terms of camera capabilities, digital printers, and new contemporary practices such as HDR Photography. HDR Photography makes possible images that were once traditionally almost impossible to get. I say almost, because a photographer that truly knew how to make images and use the darkroom could potentially make photographs that fell into the spectrum of high dynamic range (HDR). Which presents shadows, highlights, and mid-tones in one photograph. At the present, HDR is most notably seen as the over saturated process of producing some highly surreal photographs. There is an influx of people running out and making the most surreal images they can think to compose. Which is great in all, but soon that will slowly fade away as this is a social fad that we are seeing.

It may seem hypocritical of me to say this, as below this post are images that are produced using HDR techniques. However, I do not strive to achieve the overly surreal aesthetic that some people adore. My photographs have been described as that "old Technicolor process” that came before my time. Back to Frank's post about the AIPAD. As I was seeing familiar names in his article, I was thinking about how he describes the cost of images are rising. I have known for years that traditional silver prints and images made using alternative processes, (non-digital) are still widely collected, desired, and sought after. This leads me to another photographic issue. With all the advancements that digital has made, where does that leave digital fine photography?

Digital photograph is an ease of use. Making prints is seemingly easier than actually processing film and going into a darkroom. In terms of makinng prints I would drop the word seemingly and say that digital printing is much more easier. Digital allows you to make a bad photograph great in post production with leaves out the technical proficiency to make a photograph that requires minimal editing. What does this really mean?

It means people rely way too much on technology to make a good photograph. This translates even further to people care less about knowing what goes into making a well composed, properly exposed, photograph. Instead they care more about what goes into post-production in terms of editing and manipulating their images. A bad image becomes good when it goes from being to dark to properly expose-d in photoshop or what ever other medium they are using to edit their images. This is what still separates the pros from the happy snappers, which can be called the over-editors of the contemporary photographic generation. Even with the internet being overloaded with thousands of articles and tutorials, online resources, online video tutorials, people still tend to just overshoot, over edit, and care less about the proper mechanics of making photographs. It is easier to just rely and fall back on technology to fix what could have been avoided.

Another photographic issue is the disappearance of film and darkrooms. Film is fun. Shooting films means you really need to know how to use your camera and equipment. If not, you will be making costly mistakes. As film is being faded out of the industry, collectors are still seeking those iconic images made using traditional techniques, processes, and film. I have heard very little about digital fine art photography being correlated with galleries in regards pieces being collected. Frank once asked me what I thought the major difference was between digital and film. My response was tangibility. There is a tangible quality that film offers that digital does not. You can hold a negative in your hands after having physically made the photograph. Digital does not provide this physical quality until the output of the print. Even then there is still a generic and false aesthetic to them photograph.

I can provide this argument on the premise that I essentially grew up in the film generation. Even after digital made its introduction to the industry, I still used film for a number of years. My formal education with photography is in traditional practices. 400 Tri-X stole my heart and will always remain dear to me. Two projects I am currently working on, which are scheduled for exhibition in the next year rely on film, darkroom, and large format printing.

As photography progresses, we are going to see a drop off in the happy snappers. Social networking and digital photography are still infantile to us and people are still adapting to these new resources of communication. How does social networking factor into photography? Well, that is simple. People use social networking, i.e Facebook and Myspace to share photographs. There is direct link between the two. That link is people and the social responsibility to share images. Photography has always been a social tool used to create art, document, provide a visual queue to news and media issues, and lastly bring people together in terms of posing for that snap shot or portrait depending on who is photographing you, the pro or Uncle Ned, the happy snapper.

Photography in general is still very young in comparison to painting. There are a lot more advances to come. Some are great, some not so great. Fads replace photographic movements, such as pictorialism, impressionism and the photo-successionist movement. If you have a desire to learn more about things like this take a History of Photography course and familiarize yourself with contemporary practices. Academic institutions are still very much educating students in traditional processes of photography. But even so, a restructuring of the educational curriculum is being implemented as film is being pushed out.

As I was writing this article I came across this site: http://www.rleggat.com/photohistory/process1.htm I think it is every bit worth the time invested to read some of the interesting topics included. You can also find links to pictorialism and other movements within this site as well as complete history of the medium including the contributions that women have made. Women have always had a massive and influential role in the medium. As photographers and models, women have helped to shape, mend, and mold the medium. This in of its self is another history class that can be taught. A women’s role in photography was similar to the social networking role in the contemporary practice of photography. I suggest reading and researching the impacts that women have made to photography. It is way to much for me to cover at this point in time. But in conclusion I will say this, if you get a chance to shoot film before it disappears, please do so. Even if you do not get into the darkroom, you can still scan your film and work with it digitally. But knowing you’re holding a tangible piece of photographic evidence (the negative) speaks much more loudly than any memory card ever could.

Boston: Water and wet, a few photos.

2010-03-15T22:27:00.001-07:00

So today I took a trip to Boston and Cambridge to do some visual research for a project I am working on. This project is leading to an exhibition this coming fall. (September-November 2010) Against my decision to not go, I went anyways. Hoping that the rain would not be an issue. Well, I was wrong. It was quite a down pour. The sever wind and rain made for some miserable walking conditions. I did not suffer as bad as some people did. The most common sight that I witnessed today was the wind destroying and taking umbrellas right out from above people. All over the city I saw the remains of umbrellas just laying there on the ground. I did manage to get a few photographs in though. One that I am very happy about. An image that went right into a separate portfolio I have been working on for about a year now. Though I am not going to post it here. However, I will post the following that sums up what it was like in the city today. A little over saturated and wet, but still exhibits the conditions people had to face today.

Abandonment: The human disappearance. Part II

2010-03-08T11:04:00.001-08:00

Last week I made a post, the one below, containing images from a documentary project I am working on. I made a third trip to this location this morning. There is maybe one more possibly two more trips left before I will have completed the project in terms of photographing the location. Here are the images that I made this morning. Over the course of this week I will be scanning the film that I shot early last week. Working without a darkroom is very hard to do and requires a little bit more time to get the film processed. As you can see from these images though, I am focusing on the remnants of the human presence. Nothing in these photographs has been constructed to add to the composition. Everything that I have photographed was and is left in the disarray that I have found it. There are a few more images to be made that really emphasizes the sudden and abrupt disappearance and abandonment of this property. Though the area outside of the building is shaping up for development, it really begs to question, why all of a sudden were only certain belongings taken and so much more left behind. On that note, I will end with this: there are more photographs to come that show the quick and impromptu vanishing of people.

Abandonment: The human disappearance. A photographic essay.

2010-03-05T07:37:00.001-08:00

Passing this location three times a week I began to notice the changes that were being made. The house began to change, fade away, become a memory. The changing landscape is paving way for a new development. The human presence has taken a once beautiful home and vacated it, leaving nothing but waste, debris, and memories. As I was passing this location 3 days prior I noticed the sunlight hitting a set of mattress in the back of the house. This image is what compelled me to investigate the property. Twice now, using two different formats, (film and digital) I have made photographs that show the remains of the human presence.

Boston Massachusetts: Valentines day and more

2010-02-24T16:01:00.001-08:00

On Valentines day I took a day trip to Boston. I took with me a beautiful girl and my Nikon film body. I barely made any photographs because of the nature of my visit, but made sure that I had a camera with me just incase. I had with me 2 rolls of Tri-X 400 speed black and white film. My black and white film choice. I spent the day meandering around the city and made a trip over to Cambridge, Ma as well. As we ventured around the city exploring new and familiar landmarks we enjoyed the visual elements the city had to offer. From a Rockwellesque Frog pond in the commons to the historic sights of Harvard’s campus, we spent the day taking in new experiences. As night fell, we made our way over to the famous Northend to take in a most delightful and decadent dinner at the very well known Lucia Ristorante After that we made our way through a very beautiful park just past the Lewis Wharf on the back bay. The arch ways of the park were lit up with blue and white lights that dotted the arches like a surreal-electric ivy growing around the wood. All in all it was a very beautiful day. Shortly after we made our way home for the night.

The following day I took another trip back to the city. This time I went to meet with a friend and bring him back home with me. We spent the day walking through Boston, the commons, Newbury st, Kenmore Sq and headed back over to Quincy Market place. I was traveling with my Nikon Pro Dslr this time. I had more time and flexibility to shoot than the previous day. Which to me was completely fine. The day before was set aside for a much more romantic setting than shooting. Though, as I explained it on Valentine’s day, I cant not got to Boston and at least have some sort of camera with me, you know, just incase there is that one moment we share, see, or can capture. That one image that could be looked back on as memory we other wise would have forgotten.

So, we walked through some more familiar locations, places I used to visit regularly this time last year when I was living in Cambridge. Below are a few photographs and panoramas I made while out there on Monday, following Valentine’s day.

This is one of my favorite spots in the Commons. The bridge I was standing on was the back drop for Mel Gibson’s latest box office drama. Edge of Darkness

This was the first time I ever took a bus while in Boston. I much preferred taking the T vs. a bus. I just know the T much better than I do a bus. Although I did make good use of being on one.

This is a scene from the much known Newbury st. A shopaholics mecca for expensive fashionable, trendy, beautiful boutiques, stores, and some of the city's biggest fashion names. Like Burberry and Loius Vitton

This is one of the oldest areas in Boston. It is between the Northend and Quincy Market place. It is a very historic district with some fabulous brick buildings. Remincient of Holyoke

This is, ( a very obscured panorama) of the park I mentioned above. The one that in the summer has roses growing all over the trellises. It was a very romantic stroll through as the blue and white lights illuminated the path.

When I moved back from Cambridge in the late spring last year two things happened. 1. I left my heart in the greater Boston area. and 2. I came back to Holyoke to launch my studio and business. Which I am planning on expanding outwards back into the Boston and Cambridge area. I have a certain fondness for the historic aspects and qualities of Boston and especially Cambridge. Parts of Cambridge I had not visited since I had left last year. It was wonderful to see these places and sights again, furthermore it was a serious delight to be able to share them with the beautiful girl that accompanied me on our wanderings about the area.

Photography Exhibtion

2010-02-08T11:19:00.000-08:00

Frank Ward, Robert Aller, (two great friends of mine) are two wonderful photography professors at Holyoke Community College. They along with David Prifti are having an exhibit at the VPC The Valley Photo Center, located in Downtown Springfield, Ma. You can read Franks note about the exhibition here on his wonderful and insightful photography blog. The Coruscating Camera

You are invited to our Valley Photo Center reception on Sunday, February 21st from 1-4 on the 2nd floor in Tower Square, 1500 Main Street, downtown Springfield, Massachusetts.

HDR Portrait

2010-02-08T08:54:00.001-08:00

HDR portraits can be very simple or they can be very complicated. By simple I mean using one image, photoshop, and a few techniques to do a pseudo-HDR process. You can take one image and run it through an HDR action or you can run it through some of the filters and plug ins that are available. In Lightroom, there are presets that mimic what HDR is. But as well all know mimicking is not the same as the real thing. Or you have the option to make the person you are photographing stand, sit, or lay very still while you make the needed bracketed exposures.

I have two examples of HDR portraits. 1. the person asked if they could be photographed for HDR. Gladly I said yes, and stand very still, do not move at all. Which he did not. He essentially held his breath, posture, and stood motionless for 3 exposures to be made. What I was left with was my first HDR portrait.

Example 1 The image on the left does not have as much shadow on the face as you can see in the example on the right. Both are HDR portraits that were made by having him stand still. The one on the right was the first image made. He stood comfortably leaning against the wall.

Example 2 The portrait was made before I started integrating HDR into a part of my regular image making. I photographed him in passing while on a trip to Provincetown, MA, Cape Cod. This photograph was made using a pseudo technique that I created.

There are, like I mentioned, a few different ways in which you can create an HDR portrait. Lighroom and Adobe Bridge, as well as Adobe Camera Raw all have the ability to create them. My technique more closely matches what you would get if you were to shoot for HDR. (bracketed exposures)

Nissin Di866 Digital Flash plus Tutorial

2010-02-06T23:34:00.001-08:00

Having a powerful flash in your camera bag can give you light when you need it. There will always be an application or an instance when a flash will be needed. You may encounter a time when your flash will be used as a fill light, main light, low-key lighting, high-key lighting, or a variety of other options. You can use your flash as part of a three-point lighting set up or use it as a backlight. If you have had some experience with lighting subjects, you may be aware and have the ability to balance ambient light with flash. You are not limited to the possibilities of using a flash as a creative source of light. There are professional photographers that rely on their speedlights (Nikon and Canon Flashes) as primary sources of light for their shoots. There are a few reasons why pros are using their speedlights on shoots. Size, portability, ease of use, power, and the ability to take them remotely with nothing more than a set of (fully charged), batteries.

Some flash manufacturers have optional battery packs available. I have used the Canon pack to provide additional power to our flashes while covering weddings. It was an invaluable purchase that allowed us to shoot for much longer with out swapping out our batteries. Nissin has their own power pack Nissin Ps300 which is similar to the Canon pack we have in our arsenal of lighting equipment. They also have a hot shoe cord which allows you to mount the flash off camera on a bracket attached to the camera itself. I am including an article written by Barry Chignell over at Free Photo Resources, a great photography blog that covers a wide range of tutorials and photography articles. His article discusses using one camera, one flash, and one cord to keep the flash off camera for a dramatic lighting set up. Subsequently his article and self portrait won him a contest. It inspired him to create his own Self Portrait contest. You can find details on his blog if you are interested.

Two nights ago I was thumbing through the pages of some photography publications when I came across the Nissin Di866 At first, because I was moving quickly through

looking for a specific article I thought it was a Nikon product. I hesitated for a moment and realized it wasnt. I read the description of the unit. To my surprise it is listed as the most powerful flash on the market. Hmmm, is it really? How does this little, not to well known, discussed flash out power the industry leaders? It is simple really. I looked for one key component in the products ad. The Guide Number. In basic terms, the higher the guide number, the more powerful the flash. The guide number measures the ability to illuminate what you are photographing. This little beauty packs quite a power. At a guide number of 60, this flash has a higher guide number than Nikons Flagship SB900. Smaller companies are now producing flashes that are just as comparable as the big name players in the industry.

A side by side comparison of both manufacturers shows similarities. Both companies offer the same features and specs. However the Di866 has one feature that the SB900 does not. In the front, just above the name Nissin, there is a smaller fill flash built in. By now you know what a fill flash is responsible for. So, how can you use this feature. Simply angle the head of the flash upwards, side ways, (left right) or even backwards, bounce the flash of any available surface. As long as the surface is close enough that it will bounce the light back. The fill flash will fill your subject while the main head will provide the key illuminating light. Sounds a little complicated, but after some practice bouncing your flash, the process is very simple.

By now I have provided enough information that should given you an idea of how this flash fairs up to the competitors. What would such a powerful piece of equipment cost? Well, the listed price I have seen thus far is mere $249.99 Which is half the cost of the SB900. When considering the purchase of a flash, keep in mind the Guide Number is what determines the power that the flash puts out. Whether you need a flash for on camera applications, or you are purchasing your flash to use off camera, you will find that Nissin and their product line is economical as well as technically sound for any lighting application you can think of. For the price of 1 SB900, you can purchase 2 Di866’s. This will give you and advantage with having a creative lighting set up for less money. There are a number of products that will enhance and help you shoot using the flash off camera. You can see a list of these products in a previous article I wrote a few months back: Lets talk flashes…

I have found a tutorial for the Di866. This tutorial will explain visually how this flash works.

Moody Self Portrait Photography On A Budget

Portrait photography lighting does not have to be expensive. I am currently awaiting a lighting kit and background to take my portrait photography one step further but this has not stopped me experimenting with lighting…..

My Kit

I do not currently have ANY studio lighting equipment or indeed, a studio! The photo’s below were all taken in my living room using the following equipment;

1. Camera (obviously) – Canon 50d

2. Canon 430ex MK11 flash gun

3. 2 x tripod

4. Phottix Duo TTL lead

The Camera Setup

I set up the camera on one tripod (the more expensive, sturdier one) and the flashgun on the second tripod. The flash gun is connected using the Phottix Duo TTL lead. I also make sure to use the lens hood to further minimise the amount of any ambient light still left and also focus the lens to capture only the light that hits the subject (you).

Setting the flashgun up on the tripod allows me to change the angle and height of the light source meaning that the direction of the light can be any that I choose.

IMAGE -

I then set the self timer on the camera to 10 seconds (there is also a 2 second option but this does not usually allow me enough time to position myself for the shot).

It is also helpful if your camera and flashgun have an option to illuminate the settings screen so that you can see what you are doing without needing to continuously turn the lights on and off.

The Environment Setup

The next step is to make the room as dark as possible (made a lot easier if you wait until later in the day!). In my case this means turning off the lights (obviously), the aquarium lights and the lap top. I also position the equipment in front of my full length curtains as these are darker in colour and easier to get rid of in post processing.

IMAGE -

As you can see, there is definitely no special studio equipment used here!

You (the subject) Setup

Before taking one shot make sure that you know what kind of poses and looks you want to capture (you don’t want to be sat in the dark not knowing what pose to strike!). I tried to go for poses full of character and portraying an emotion, or a bit of mystery).

GALLERY

The above photo was taken with the flash (light source) diagonally in front of me and to the left, about 1 foot each way), it was also set about 1 foot above the height of my head.

This shot was taken with the flash positioned as above but level with the height of my head.

This one was taken with the flash directly to my right.

This one was taken with the flash below my face and about 1 foot in front of me.

If you have the option try playing around with the strength of the flash and also use a diffuser on some shots. Each technique will offer a slightly different effect.

Post Processing

For each photo I adjusted the curves in Photoshop to darken the shadows and get rid of any trace of the background. I then duplicated the layer and applied a High Pass filter.

Finally, if needed, I lightened my eyes slightly and used the burn tool to darken any part of my shoulders that were showing.

Can you distinguish what type of lighting these images create? High-key, low-key, fill light? If so, then you have learned at least one thing from this article. Although, I am hoping you are walking away with a greater idea and knowledge of why lesser common brand flashes are equally as good as the more expensive industry leading brands. In the end it comes down to power, not price. Keep this in mind and in your budget when setting out to purchase your flash.

HDR Landscape and some ICE

2010-02-06T19:07:00.001-08:00

Some times it pays to take a break and go out and shoot. Today I did just that. It was cold. I didnt have any gloves with me. I was fortunate enough to be able to barrow some hiking boots from my business partner, but still was cold. My jacket, thought it looks very nice, isnt much warmer than a piece of fabric. Never the less it didnt stop me from going out and making some photographs. I shoot landscapes when I can. I make panoramas every chance I get. For me, shooting like this is a creative brake from being creative. We did some hiking, some exploring, may or may not have trespassed. No one can be sure whether or not we did or didnt. I will admit though that taking the break to make these photographs was refreshing. Getting out of the studio and away from the work load for a bit was great. Now that I have made these, took some time off, I am ready to get back to work.

Featured on: NYC Blog

2010-02-03T09:48:00.000-08:00

Paolo over at NYC The Blog has featured some on my photographs on his blog. Here is a link to an extended gallery. Jeffrey Byrnes Photographs New York City

HDR Photography: The right time of day to shoot.

2010-01-24T17:47:00.001-08:00

HDR Photography is allowing for more and more conceptual compositions to be composed. There are a few different ways you can approach making HDR images. You can shoot to produce the ultra surreal images with bright and vivid colors or make images that show a more dynamic range of shadows, high lights, and mid tones all in one image. Such software as Photomatix allows for the ease of tone mapping which produces the contrasted colors. However, tone mapping produces the surreal look that does command a visual examination of the photograph, but the problem with tone mapping is it compresses the image to allow for the contrast, which causes a decrease in the dynamic range.

I prefer to use Photomatix to process my HDR images. Depending on what I am shooting I make the choice before I even get to the computer as to which look I am going for. For a client I produce images that are more realistic and have a greater dynamic range in the shadows, high lights and mid tones. For my personal work it is a 50/50 depending on the composition and the scene/location for which I am shooting.

The next biggest factor I consider when approaching ANY HDR image is the quality of light. Below are two examples of HDR images, same location, same subject, but photographed at different times.

The first image was made about 12pm The second image as shot nearly 3 hours later.

The image on the left is cooler than the image on the right. The warm tones of the image on the right make for a more aesthetically pleasing composition. I favor the image on the right because of the warmth that it exhibits. The time of day I would most likely choose to shoot this scene reflects the image on the right. In post production you could adjust the image on the right by adding a warm tone filter to it or by changing the color balance and make it a little bit warmer. You just do not get the same quality of image by using a post production method for making the image.

Recently I hung a small collection of HDR prints for a small exhibition in our studio. A guest pointed out that it appears that most of my images were made during or around the same time of day. It was easy to explain why it appeared that way. The time of day was favored for making photographs. The type of light that I was able to work with best suited the quality of the image. It is true that there is a favorable time to make photographs. The Golden Hour, the first and last hour sunlight during the day, when you can produce images that give a warm feel. This quality of light can yield some aesthetically pleasing images that when photographed earlier in the day might not. This time of day also allows for a much greater dynamic range, (not to be confused with the definition of HDR) in the light as well as the composition. Which also contributes to making photographs that give a much more pleasing look and feel to them.

These are a few things I factor in when establishing a composition. Especially when setting up for an image that uses HDR to further enhance the visual quality. Some of the greatest HDR Images that I have seen are made during the early morning hours or the evening hours. My friend Barry, who owns FreePhotoResources, doest quite a bit of photography in the early morning hours, as well as at night.

Credit: Barry Chignell Free Photo Resources

Here, Barry’s image works great with the use of cool tones. The quality of light that he has photographed reflects the season in which the photograph has been made. The use of cool tones really exemplifies the quality of the image. The long exposure and dragging of the clouds produces a magical feeling. This image is in contrast to what I discussed earlier about the quality of light, however he made it work very well in this image.

He has a number of great tutorials devoted to HDR photography. As well as a small reference to the Golden Hour. Barry makes great use of the golden hour. He has produced some fantastic images following these principals about quality of light and the right time of day to make striking images. Its very simple, go out before sunset and capture the golden hour as it comes into play. Make sure you have a great composition and location planned out. Three times a week I make a commute that is very early in the morning. Each day the sun is out and there is a frost on the ground the light produces some very scenic images that command your attention. I am planning on photographing the landscape this week. It is prior viewing of this scene that allows me to further plan out the shoot. I know the right time of day and the right quality of light needed to capture the mood I want to convey photographically. Taking some time to plan out your photographs makes a world of a difference. Of course we all know that planning things out can change in 1/45th of a second.

Human suffering: The roll photography plays and the impact it shares.

2010-01-14T17:52:00.001-08:00

By now news of the devastating earth quake in Haiti has made the headlines of all major news and media outlets around the world. Human suffering is part of every society. It is around every corner, in every city, in every part of the world. What makes this situation so different? Quite a lot actually. With social networking so easily accessible it allows for more people to connect and make a difference. Spread all over facebook today and most of yesterday I have been reading comments about making donations to the Red Cross. As a photographer, I feel so compelled and even some what obligated to photograph such events. There are some serious moral and ethical implications that come with the desire and feeling of obligations to document such horrific and tragic losses. As much as I desire to be in a place of disaster, seeing human strength, survival, and people coming together to save one another, I am unable to be there. It takes a certain type of photographer to be able to detach themselves from a situation to be able to share what they are seeing. I have seen a few photographs that have been made during the past two days. Images that can make me stop, think, and feel, are the kinds of images that I strive to make. Even if they are not about a disaster. But, I can not say that given the chance to be sent to a place such as Haiti I would turn it down. I think it would be a chance to grow as a person and see what it is like to experience human struggle, strength, and survival.

Until there is a chance for me to be placed in a situation like what happened two days ago, I will have to continue responding to smaller acts of human suffering. In the last 6 months I have responded to 3 major fires that have resulted in people losing their homes and everything they had. It is a sad situation and sight to be watching people’s belongings, memories, photographs, and home go up in a blaze. In the past 6 months all three of these fires have been in one small city. Holyoke, Massachusetts. Holyoke is where my career in photography has initially begun. The first time I was published in an article based on a Holyoke baseball team. Since then I have gone on to co found a photography business/studio. Holyoke being my community I feel a sincere obligation to document what happens in the city. Below are three photographs (panoramas made last night) from the most recent fire. I am also providing a link to a very small blog that I post on. See The Brick it is a photo blog for Holyoke.

On my blog you may read that we are setting up a fund to aid in the families that have lost so much. We are setting up this fund to help aid the families now, the families that are in dire need of help. This fund will remain in existence for future tragedies that may occur. We feel a social obligation to help out in our community. We feel that as members of the same community that we need to help out and try to make a difference. Whether it be big or large, making a difference still makes an impact.

Human suffering will never cease to stop. There will always be an event, tragic act of nature, or act of another type that will lead to human suffering and loss of life. That is part of the human existence. As painful as it is, it brings people together, gives them a sense of community, and a sense of appreciation for other humans that do step forward to make a difference. Photography plays an immense roll in a situation like this. Washington Post Images.. Images inspire, create feelings and emotions that bring people together to form a community of volunteers. I would, given the chance, volunteer my time and talents to be a part of what is taking place in Haiti. My final thoughts are as follows, donate your time, open your wallet to make a small donation, donate some blankets, clothing or even a pair of gloves. Making any sort of donation will make a difference.

Over Heated: Continuous Light bulb distortion

2010-01-06T22:32:00.001-08:00

Tonight while in the studio we had a continuous light on. Some times we use it as a back light for the back drops or as a side light. We have not really used it for much shooting. In fact, it has only really been used about 3 times to light a back drop. However, tonight it was on to do a little light set up. I was thinking of trying some portraits with an idea I had in mind. After sitting and talking with a friend for a few minutes, the light started to make a faint hum. Seconds later the light went out. After walking over and flicking the switch a few times, scratching my head twice, I pulled the front of the light around towards the light in the hall. That is when I noticed this:

The rating on the bulb says 500Watts 4800 K, which means Kelvin, the unit of measurement of temperature. I will not go into to much detail about the Kelvin Scale at the moment. I am going to save that for later when I update Lenshare. As well as an article about Color Temperature, which is coming very soon.

Tomorrow I will be contacting the manufacturer of the light bulb as well as the light manufacturer. This could have been a very dangerous situation for both us as well as the building. As someone who has photographed a few fires in Holyoke. Where our studio is located. I would not want to photograph our own studio, my friends building burning.

I will also be writing an article about a fire that I photographed two days prior to Christmas and then again on Christmas eve. Here are a few photos from that blaze, as featured on MassLive.com’s Gallery You can read the full story here.

Keep an eye out for the new Lenshare.com 2010 is going to be bringing about some magnificent changes.

The Mental Image, The Visible Image, The Constructed Image

2009-12-24T21:05:00.001-08:00

I would like to think that I have a photographic memory. I must if I am a photographer. Or at least I think I should. Never the less, my memory allows for me to call up visual memories that are in the form of snap shots and photographs. Often times I can remember in great detail things, moments, and places in my life. It is a very comforting feeling to have this ability. Because at times I do not always have a camera. And for the most part those are times I wish I had brought one with me. Its not every day that a situation occurs where I find myself wishing I had a camera to document a moment. But when that time does come, or there is a moment in which I would use my camera to record that moment, I find myself making mental photographs. Images I stored and keep close to my heart so I can upload them at any point and time and remember them. Below is a description of a moment in which I would have loved to have had one of my cameras.

The Mental Image

Her hair was soft with curls never before seen. Her face light up with every smile. The light illuminated parts of her face, leaving her eyes in the shadows. In that moment I wished I had my camera to capture the aesthetic qualities that made up this beautifully composed scene. Every few minutes she would sit back, just enough for the light to catch her eyes. Glowing back at me from across the table, again she would smile. Smile with her eyes. Her smiles change frequently. Each one expressing a different laugh, emotion, or thought. The side light mounted on the wall, casts deep shadows. Shadows that some times covered her eyes, just begging for a chance to see them. Through the curls of her soft hair that occasionally fall in front of her face I catch glimpses of contentment and genuine happiness. An empty glass of ice tea stands next to a half full glass of water. My cup, half full of ice slowly melts as I occasionally reach for a sip of water. The table having been cleared a long while ago is anything but empty. Great conversation, tender moments, soft words, excitement, and laughter filled the table. Occasionally a mitten appears from under the table in a playful manner. I, on the other hand sit poised listening intently to the words spoken. Seeing this scene in front of me, I knew this was a moment that I will remember. Compliments were exchanged. Words said to one another that make for a nice feeling. A welcoming feeling. A familiar feeling.

This is how I can visualize the moment a few nights ago. Like I said, it would have been nice to have made a photograph of the moment. But at the end of the night, when I can recall this image and view it as many times as I would like, who needs a camera?

The Visual Image

The photograph is a visual element that allows us to see what has happened or has been created. A visual image can include anything we see or create. Visual images are ones that we see with our eyes and interpret with our minds. You could explain to someone that a fire took place and you saw it happen. You could try your best to describe the event, how it looked, what you saw, how you felt when witnessing the event. But, sometimes seeing this for ourselves really gives us a sense of appreciation. I could tell you that I saw a fire happen. I could explain that I saw a fire fighter be knocked over by the force of water escaping a hose like a geyser.

But, if you cant visualize it, what good is the description? When you present a visual image, a photograph. You are giving a chance to show what you saw and how you saw it. A glimpse of what you were seeing, which maybe different than what other people were seeing. A photograph is worth a thousand words. Without a visual image your left with an empty description.

The Constructed Image

Constructing an image commands a lot more attention than just making a snap shot. It is about how you arrange and place the elements within a composition. It is about how you construct a visual image for people to see. At times it is about taking nothing and making something from it. This is an example of a constructed image. A torn leather couch sitting in an ally way. Passing by seeing this element became an image. Using my camera to photograph this element becomes a constructed image. You maybe thinking, “well don’t all images become constructed at one point or another?” This can be apparently true in some situations, where as others are more intuitive vs. being well thought out. Yes, making a photograph can be perceived as constructing an image. However there are times where the thought process for making an image is a totally different mindset. Which allows us to differentiate photographs into various categories.

Intuitive images: Knowing and anticipating where to shoot and look.

Constructed Images: Positioning yourself and your subject/s to make a photograph.

However you look at it, as long as photographs are being made, we are all happy…

Landscape of Memories

2009-12-17T21:53:00.001-08:00

Photographs can be visual memories that conjure up thoughts and feelings that tantalize, sadden, and at times fill us with emotions. A photograph made from an emotional response has a personal quality that only we the photographer (artist) can understand. That is unless you share the memory.

Over the past month I have been working on a project that has brought me to familiar places. Places I have know for many of years. Places that I have photographed before, yet have had no real memory of or connection to. Part of my project has been about using film as a basis for getting away from the static every day use of digital. Film holds a nostalgic quality. A quality that can also be found in memories. Film is more tangible than digital photography. From before you make a photograph, you are holding a piece of the photograph. I find that using film for my project gives more depth and dimension than shooting with digital.

My project is on going. It has been for some time now. New memories have created new images. Images I feel should be shared, shared with the people who carry the same memories.

Photoshop Tutorial: Smart Sharpening

2009-12-06T22:28:00.001-08:00

I came across this great article about smart sharpening on Earth Bound Light. As a former re-toucher for a major studio, there were a few times in which I needed to use the smart sharpening filter. It made a world of a difference. It is something I suggest using if you have an image that has some blur to it.