Persistence of Vision

LomoKino Super 35mm Camera Review

2015-02-25T09:14:00.002-08:00

I’ve been excited about the Lomokino since I first heard of them from their crowdfunding campaign. Admittedly, I forgot about it for a while. But recently I saw it on Amazon, and decided to pick one up.

The Lomokino is a hand cranked Super 35mm movie camera that takes traditional 35mm still camera rolls of film. As anyone who knows me can attest, I am a film nut. So the thought of being able to shoot super 35mm motion pictures, and develop it at home was exceptionally intriguing.

To be honest, the Lomokino was probably designed to be a quirky toy for hipsters. A way to shoot “old style” movie clips. However, I see much more potential in this little device. A 35mm movie frame has a left to right. Grain to pixel equivalent of about a 30 megapixel digital camera. However, the average film stock has 10 layers of emulsion deep. Making a 35mm movie frame closer to the equivalent of a 350 megapixel digital camera. (4k video is approximately equivalent to 5 megapixels). This doesn’t even begin to account for the subtle organic flow of film grain as opposed to the harsh uniformity of digital pixels. Film is a far better (although far more expensive) medium. Although I have fully embraced digital as a cost effective substitute for film, shooting film is still better.

However, the Lomokino does have some serious disadvantages. First, is the cranking mechanism. The lomokino will shoot 5 frames per second if cranked rigorously. This slow frame rate closer resembles a flip book then a movie. Stylistic qualities aside, I would like to see a version that can shoot 15 frames per second. This would allow it to reach persistence of vision, and make for a much smoother end product. I understand the manufacturers reasoning behind the slow frame rate. 5 frames per second gives the user about 30 seconds of footage from a 36 exposure roll of still film. 15 frames per second would only yield 10 seconds. Although the average user would probably prefer the extended time to the smoother look, it would be nice to have the option to change it. I have a 35mm Mitchel camera with a hand crank that can be set to shoot 128 frames per second, so I know it is possible to make the Lomokino shoot 15fps…

The lens on the Lomokino is not the best quality. It would have been nicer if this camera came with a standard lens mount instead of a cheapy permanently attached lens. However, it is wide enough of an angle to have a substantial depth of field making it good for the average user.

The first roll of film I shot through the Lomokino was ilford 400 speed B&W film. (I later processed it at home and scanned the negative using a Wolverine 20 megapixel negative scanner) The cranking mechanism wasn’t very fluid which resulted in a lot of camera shake in my finished footage. I will try different ways to hold the camera, and let you guys know what works better.

If you are into film making, celluloid, or a just a trendy hipster wanting to do things the “old-fashioned” way, You should pick up a Lomokino camera. For the professional film and video maker, it is a cheap back up that can get you some striking images when you don’t have power or a charge to your regular devices. For the indie / experimental film maker it is unique style that will set your project apart from the deluge of digital films. And for the film aficionado, it is an inexpensive way to shoot real motion pictures with a tangible roll of film.

Canon 24mm EF-S Pancake Review

2015-01-07T14:38:00.001-08:00

I recently saw that Canon had released a 24mm EF-S f/1.8 Pancake lens. I was very interested in this lens. I have a full set of Nikon and Canon FD primes, but my EF prime selection is lacking. Seeing that Canon released a low cost, wide-angle “pancake” lens was just the push I needed to expand my EF’s.

The First thing you will probably notice about the Canon 24mm EF-S lens is the slim profile. This is achieved by the use of one aspherical element in the lens' construction, which helps to minimize chromatic aberrations and produce notably sharp images. The slim “pancake” profile of the lens also allows you to use the lens in ways (and places) you cannot with a standard sized lens.

The second thing you will probably notice about the Canon 24mm EF-S lens is the price. At $150.00 it is ¼ the price of the standard Canon 24mm EF lens and is really only lacking in the EF lens’s Image Stabilization.

Once I got my hands on the Canon 24mm EF-S, I took it down to the beach to shoot some photos. I immediately noticed how fast and quiet the auto focus on this lens is. This is the result of Canon’s Stepping motor (which I learned can easily be overridden by turning the manual focus ring without needing to switch the lens to manual focus).

The photos came out sharp and very nice. This gave me an idea, and I quickly rushed of to do a comparison between the Canon 24mm EF-S and my other 24mm prime lenses (a Nikon Nikkor 24mm, and a Canon 24mm L-series FD). To use the other lenses on my Canon T2I, I use fotodiox adapters. The one for the FD adds a piece of glass that cuts light and a bit of sharpness as well as increasing the focal length a bit (although that never stopped the L-series 24mm from being one of my favorite lenses).

Below I have added a photo from each of the three lenses, and as you can see, the Canon 24mm EF-S Pancake holds up surprisingly well against it’s more expensive partners.

Another great advantage of the Canon 24mm EF-S lens is it's great macro abilities. Canon claims the ability of this lens to focus on object about 6 inches from the lens. This photograph of some sailboat rigging seems to verify that claim. the photo has remarkable color clarity, and sharpness.

Overall, I would have to say that if you shoot with a Canon APS-C camera, the 24mm EF-S lens is good addition to your lens collection. It may, in fact, become my new “goto” wide-angle prime lens.

Have you tried the Canon 24mm EF-S prime lens? If so, tell us what you think in the comments below!

Shooting with a Probe Lens

2013-05-29T18:49:00.000-07:00

Innovision Probe Lens System

So I have this Innovision Probe lens from back in my days doing Visual Effects for TV and Movies. I have an adapter to use it with the old Canon FD mount. I also have an FD to EF adapter. So I decided to sick this on my Canon T2i and see what would happen.
There are 3 lenses in this particular set that I have, but for todays shooting, I stuck with the 16mm. All three "lenses" screw to the front of the unit, but the focus ring, and iris are all closer to the camera side. Wide open, this lens system is a very slow T-16.
("t" as opposed to "f". This was a cinema lens so it uses the "t-stop". A simple explanation of the difference is: f-stops are mathematically figured by a ratio of the focal length of the lens divided by the aperture diameter. A t-stop includes in the calculation the light loss caused by the light passing through the element. A more detailed explanation is available here. )

Door Track

To be honest, I hadn't put much thought into shooting stills with this. I guess it saw it more as a gag to move the camera through impossibly small places in a movie, and not very useful in a still. Then I thought that the extra couple feet in front of the lens might make for some unique points of view. And in the end, isn't that a great part of photography? showing people things they see all the time, in a way they have never seen them?

This First photograph is from within the door track to the part of the sliding glass door in my apartment that never gets used (and is in fact behind the couch). The shallow depth of field, and unique perspective really stood out in this photograph to me. (After shooting this, I am seriously thinking of hiring a cleaning service)

Shooting a piece of Coral

The weight of this lens is pretty intense (especially for my plastic bodied Canon T2i , it may not be a concern on a metal bodied camera like the 7D , or 5D ). I shot these photographs with the camera either on the floor, or a desk. I also carried it by the lens so that the weight of the lens wouldn't put undue stress on my lens mount. In the first photograph of the unit (in the case, at the top of the page) there is a cradle system for the lens. I need to figure out how to rig that to work with this camera body before I do a lot more shooting with this system.

To the right, is the Photograph taken in the setup above. I was amazed at how close to the lens I could get, and still achieve focus. (The out of focus area in the foreground was able to be focused on at less then 1/2 an inch from the front of the glass, but that photograph wasn't as ascetically pleasing as this one so...).

So now to think of new ways to play, and new things to photograph with this lens system. If you have any ideas, post them in the comments section.

iPhone close-up

* Check out my other blog for some real cool vintage photos

If you like Exotic Cars, I have some pics of those over here
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Shooting Regina Bailey

2013-03-26T20:14:00.001-07:00

I have been neglecting this Blog. I became to focused on trying to come up with a "lesson", that I stopped writing all together. Well, I think I'm just going to post some pretty pictures and ramble a bit instead. I recently upgraded to Adobe Creative Suite CS6, and was getting used to the new Photoshop (my previous version was CS2 I believe). I found myself looking through files of photographs looking for stuff to play around with in Photoshop, and as I often do, I ended up in my Regina Bailey Folder.
Regina is an amazing Model that I have known for quite some time now. I have never been much for commercial photography, and have actually tried to avoid it at many times in my life. For me, Photography is therapeutic. Clients usually just annoy me. I am, however, usually available to shoot for friends. As a result, I have many wonderful photographs of Regina. I figured I would share a few with you. The Photo at the top of this page is a favorite of mine. The soft, dark, blues and greens in the background offer a contrast to the bright warmth of Regina's face. Her maroon top balances her warmth and the cool of the background. Her eyes gaze off, up into the distance. This photo was shot digitally.
The photograph on the right was shot on 35mm B&W film, processed and printed by me. I love the playfulness of this photograph. She walks into the chaos of light and shadow ahead. Briefly pausing to turn back, giggle, and beckon you to follow. Her eyes turned down shyly bring a feel of youthful curiosity as to what lies ahead in the darkness.

This next shot was also on B&W film. I think this was 6x4.5, but I'm to lazy to go dig for the negative to say for sure.
This photo makes me smile. The amazed look, as if seeing something new and exciting for the first time, and the band-aid on the head that says, "Yes, I have been hurt, but that won't stop me"
The last photo I'm going to share in this post is a 3D photograph. Shot on a Stereo Realist Camera (that you can see me holding in mirrors reflection.). I used the two separate images from the negative to make the 3D Anaglyph (for more info on how to make 3D anaglyphs see my tutorial here).
If you look back through the posts on this blog, you will see many other Photographs I shot of Regina. If you look at my website, my Flickr, or Deviant Art sites you will find more there also. I will share more with you in the future, and over the years, I will shoot even more to share.

* Check out my other blog for some real cool vintage photos
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Canon f/1.8 50mm review

2013-01-28T15:48:00.002-08:00

The Canon f/1.8 50mm

I am not a big fan of the 50mm in general. Recently, I was shooting a short film, and the director wanted a shallow depth of field, and very "minimalistic" lighting. So I was shooting at f/2.8. I was using my set of FD mount Canon primes (with an adapter). In one scene, I was shooting across a dining room table. It became apparent that my 24mm was to wide, so I reluctantly grabbed the 50mm. To my horror, the iris was seized up. I ended up getting the shot with my 85mm, and backing up a bit. After we wrapped, I knew I had to buy a new 50mm. Should a buy another old FD? I decided to look at Canons current offers (as I had no EF primes). Canon makes 3 different 50mm lenses. The f/1.2 L USM Lens , the f/1.4 USM , and the f/1.8 II . As someone who is no fan of the 50mm, (and a bit lacking in the finances at the moment) I decided to just grab the econo model f/1.8.

My First 35mm SLR

I Think I know where my distaste for the 50mm came from. In 1993 I bought my first 35mm SLR. It was a Fujica, all manual, M42 mount, and it had a 55mm lens on it. It wasn't a bad lens, it was just the only lens I had... for 2 years. I became tired of it. Tired of the look it gave. Eventually I discovered used camera shows, and was able to afford my first zoom. I never looked back. The 50 was dead to me.

Apple Keyboard & Mouse

This New lens was different. Now I am sure the L-series 50 is an incredible lens (my 14, and 24 are L-series, and the continue to amaze me.), But for the price of the 1.8, I don't think you can go wrong. At 1/10th the price of the L-series, this is an amazing lens. If you don't have any primes, the extra f-stops will come in handy (all my zooms are 3.5). If you do have primes, then the 50mm will be a great mid focal length addition.
All of the shots in the post (with the exception of the photo of my Canon camera with the 50mm lens on it) were shot using this lens. These last three photos were shot locked off on a tripod. I was set to auto shutter speed, and 200 asa for all three shots. The first was shot at f/1.8, and the last shot at f/11. The lens was able to give a good quality image through all stops, and a good range of depth of field. I would call the Canon EF 50mm f/1.8 II Camera Lens a must have for anyone who owns a Canon DSLR.

Canon f/1.8 50mm

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A Simple explanation of Persistence of Vision

2012-11-28T17:59:00.001-08:00

I have decided to write a post about Persistence of Vision. I figure it is fitting being as that is the name of this Blog.
To put it simply, Persistence of Vision is the ability of the mind to interpret a fast succession of still images as a moving image. In the early days of Motion Picture production, it was decided that the projection of 16 still frames per second would give the appearance to the viewer of a moving image (speeds as low as 10 frames per second would still give the illusion of motion, but would have a jerky, strobe effect, much like the stick figure flip-books we played with as kids). Most early films where therefore shot at 16 frames per second. With the advent of sound pictures, the frame rate was increased to 24 frames per second to better accommodate the audio track (which at the time was printed on the film projection print). As a result, many early silent films were later accidentally screened at 24 frames per second giving them the sped up look that many of us associate with early silent films.

Persistence of Vision example

The images above were shot in 1878 in an early attempt to study the way horses run. It is important to note that these images were taken by 10 separate still cameras triggered by mono-filament "trip lines" that the horse was running through, and were never intended to be a moving image. (This system is also the basis for the "Bullet Time" effect from the motion picture "The Matrix" that used hundreds of cameras that fired in sequence along a path thus giving not only a slow motion shot, but also a "moving camera" effect.) The bottom right image is the previous 10 images played one after the other at a rate of 16 frames per second. As you can see, the horse appears to be running smoothly even though you are actually just looking at the 10 still images being shown in rapid succession (on a loop).

All modern forms of moving image technology still rely on these principles. Most films are still shot at 24 frames per second. Some are shot at 30 frames per second. The analog video signals we grew up with were based on 120v 60hz power that required images to be interlaced. interlacing split the frame into 2 fields with 60 fields or 30 full frames being shown per second on NTSC systems. PAL systems used 50hz power, and therefore showed the images at 50 fields, or 25 full frames per second.

There is a growing belief that showing movies at 48 frames per second will give a more realistic experience to the viewer. The 2013 film "The Hobbit" Directed by Peter Jackson will be the first major motion picture to be shot and released in 48fps.
Persistence of Vision is the basis for many "special optical effects" commonly used in the motion picture industry. Cell animation, and stop motion animation are both fine examples. Each uses individually shot still frames that, when shown at 24 frames per second, give the viewer the illusion of smooth, fluid motion.
Time Lapse photography Also uses the principles of Persistence of Vision. Time lapse is created by shooting still frames at a slow interval, and then playing them back at a higher frame rate. The following Video was shot at a rate of 1 frame every 5 seconds.

* Check out my other blog for some real cool vintage photos

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Iconic Buildings in Southern California

2012-11-14T14:36:00.000-08:00

Hollywoodland Reality

Design has always been I subject I enjoy photographing. Architectural design has fascinated me since I first picked up a camera. It seems to me that a building is a snapshot of the design aesthetic of the time it was built. Remodeling and additions add subsequent styles into the mix adding a sometimes surreal element. The Photograph on the left is of the Hollywoodland reality office (originally the Hollywoodland sales office) built in 1923. You can find a lot of great photos and history about the building (and the Hollywood sign) on their page.

Hollywood Tower

Some buildings can be better known for their fictitious counterparts then for the real building. The picture on the right is the infamous Hollywood Tower. Known to most people as the inspiration for the Disney Hollywood Tower of Terror ride. Of course the real building looks little like the ride. I have never actually been inside the building, but I have heard countless tales of it being haunted. I suppose the rumors of ghostly residents, along with the foreboding style of the architecture, is where Disney came up with the idea.

Pasadena Suicide Bridge

The next photograph I have today is of the "Suicide bridge" in Pasadena. Built in 1913, several people jumped to their death from this bridge in the early 20th century (and continue to do so). There is a famous story of a woman who leapt from the bridge after tossing her 3 year old daughter over. The child was the only person to ever survive the plunge. (read more about that here). This picture shows the advent of progress, and the change in style for the same structure. In the foreground is a modern freeway overpass (the Arroyo Seco bridge). Although obviously built with cues leading back to the original bridge, its style is different.

* Check out my other blog for some real cool vintage photos
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Behind The Scenes Horror Fun

2012-10-31T17:02:00.000-07:00

Elvira and Clones

In honor of Halloween, (and I was slacking on this blog this week, and didn't have anything prepared), I thought I would share some behind the scenes horror themed photos I've taken while working on various gigs over the years. The Photo on the left was shot in 2007 during shooting of "Who Want's to be the Next Elvira". The photo was shot in a ballroom on the Queen Mary in Long Beach after a long day of shooting. The photo Features Elvira: aka Cassandra Peterson (in the center) and two "Elvira Impersonators" on either side.

Easter Bunny Kill Kill behind the scenes

David Stamp: Someone's Knocking at the Door

Although this is Halloween, I thought these next two pictures from the shooting of Chad Ferrin's "Easter Bunny, Kill! Kill! " would be appropriate to share. This photograph on the right, shows the death of David Stamp's character Ray. Also in the photo, you see Cinematographer Giuseppe Assaro (holding the camera), and A.D. Rachel Sever. In the background, you can see the leg of Wolf Dangler. This movie was shot in 2006 mostly in a small house in Hollywood, and a few other local locations.
One of those locations was the small store we shot the opening scene in. The photo below was from that days shoot. In it, you see Timothy Muskatell (In the mask). Behind him you can see Trent Haaga, and on the right is my good friend Key Grip Greg Ewing (who is no longer with us).
These last two pictures are from the shooting of Chad Ferrin's Someone's Knocking at the Door . I did a more in depth post about that shoot here, but I didn't add these behind the scenes photos. The first photograph is of actor David Stamp undergoing his make-up transformation before shooting his scene with actress Andrea Rueda. (Make-up Effect by Tom Devlin's 1313fx. The majority of this film was shot at the derilict Linda Vista Hospital in Los Angeles. There are many stories of that hospital being haunted, I have heard them from many a crew member, and saw some of it with my own eyes.
The last photo is from Trent Haaga's death scene. As you can see, he is checking out a shot of the same thing on his cell phone.

Trent Haaga: Someone's Knocking at The Door

* Check out my other blog for some real cool vintage halloween photos
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Photographic Repetition

2012-10-25T16:08:00.000-07:00

Transamerica Building, San Francisco

"A master painting has multiple repeating threads running through it. These hold the painting together and unify it in much the same way a great symphony is tied together by a repeated main theme. Variety in these repeated elements, as in music, adds interest to the painting. Repetition, variety, unity, harmony are characteristics of all great symphonies and of all great paintings." (Barry John Raybould)

Old style Overtaken by the Modern

Repetition has long been a staple of any artistic medium. The uniformity soothes us. We like it when everything is organized, and lined up. Of course repetition has many uses. It can be used as the subject itself, as in the above photo of the Transamerica Building in San Francisco. Or this photo on the right that juxtaposes the repetition of the sleak modern architecture with it's singular recurring pattern, and the early modern building and its many recurring patterns in the center.

Roast Duck

Repetition can also be used to draw attention to your subject. The Photograph on the left is so cluttered with reflections, that without there being multiple ducks hanging in the window, the viewer might not know that the duck was the subject of the photograph. (Now granted, I could have used a polarizer to clear up the reflections, but I wanted the chaos of it, I wanted it to be a "through the shop window" kinda thing.)

Chinatown

Repetition does not have to be the exact same thing being repeated. In this photograph on the left, the cars, and the buildings are the repetition that create a path through the image.
Repetition can also provide a frame of reality in a surrealist view. The photo below uses the reflections in the window of a building to show a distorted view of other buildings. I used the buildings repetitive architectural cues to provide a counterbalance to the distortions.

Reflection in San Francisco

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Has Digital Won?

2012-10-17T12:32:00.002-07:00

Grasshopper: Shot on Digital

Recently, a dear friend of mine was updating their website. They asked me to shoot some new photos for the site. My friend is an artistic person, and wanted the photos in Black and White. This seemed like a no brainer. I love shooting Black and White Film. I process and print my own negatives, and really feel the organic flow of the darkroom brings out the artistic side of me. So I convinced her to go digital. I know, I was shocked myself. I questioned myself later about why I did it. was it time? cost? Sure, at about $5.00 a roll for Ilford 35mm film (a little pricier if I wanted to shoot medium format since you get half to a third as many shots per roll.) Add in a few bucks for chemicals, and paper, multiple that by 300 photos, and it all starts to add up. In money and time spent in the darkroom (300 photos in the darkroom... no thanks).
That is not the real reason why I talked her into digital though.

Hammock: Shot on Ilford 35mm 3200ISO

One of the things that captivates me about photography is the process itself. Light being recorded by the degassing of tiny crystals creating dark spots where the light was, then doing the process again using that reversal to make a reverse of it. (Are two negatives making a positive?) The organic nature of that gives life to the flow of the grains in a film image that is unique. The Photograph on the right was shot with Ilford 3200 speed 35mm film, and the grains are magnificent. It is as if the picture was created using black and white grains of sand. I enjoy the flaws in film also. The clouded spot from where your film kinked while trying to load it the spool for the developing tank has added unique accents in many of my favorite photos.

Missing Spot Op: Shot on B&W Film

I read a story once of a famous Photograph from photographer Jacques Henri Lartigue. The photo had an odd pattern on it, and people couldn't quite make out what it was. Eventually the conclusion was made that it was Lartique's fingerprint that was left in the emulsion on the glass plate he took the photo with.
*Before Kodak brought "Film" to the world by putting photographic emulsion on a thin flexible plastic, photographers would often mix their own emulsion, and paint it onto optical glass plates. They would let the emulsion dry, and load the plates into a "quick change magazine" that they would later load into the camera to shoot a picture.
It is these "happy little accidents" that endure me to film so much. It is also these "happy little accidents" that cause reshoots, client complaints, and hours of "fixing" in front of photoshop. So I guess what I'm really saying is If I am heading up to Yosemite National Park, I am bringing the largest format camera I have, loaded with B&W film. But if someone else is paying me to take pictures while I'm there, I'm also carrying my Digital.
The Photo Below is a set of contact prints from a shoot I did for the film Someone's Knocking at the Door ( more can be seen from this set in my previous blog here) These photos of actors Vernon Wells and Melanie Doyle have many "Happy accidents" that lent to the look I was going for for this shoot.

Vernon Wells and Melanie Doyle: Medium Format Ilford fp4 plus

*If you to like gritty Black and White photography, feel free to check out my other blog Found Snapshots. It is a collection of pre 1950 snapshots that I have picked up at swap meets, flea markets, and paper shows over the years. It is new, but will be updated frequently.

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The Wilderness of Florida

2012-10-10T21:33:00.001-07:00

Graffiti on a RR bridge

This past summer, I took a trip to the east coast of Florida. I have been there many times before. I grew up there. 16 years ago, I left home and moved to Los Angeles. I have been back many times since, but this had been my first trip since 2007. While in Florida, I couldn't get over how much things had changed. The place looked beat up. I'm not sure if it was the poor economy, or if a decade and a half really puts that much wear on a place, but it looked beat.

Boardwalk: Turkey Creek Florida

I found myself photographing the natural landscapes more then city itself. Nature has a way of enduring. The undeveloped lands look the same as I remembered them. (maybe a bit less foreboding now that I have GPS in my pocket). I'm sure this wilderness looked much the same when Spanish explorers first walked through these woods 500 hundred years ago. (Some historians say Ponce De Leon first landed in this area, and may have walked through this same wilderness in search of his fountain of youth).

Birds Congregating on the Indian River

I think there is a lesson to be learned in this. You see, the Birds aren't stressed about the economy. They are not affected by the constant advance of progress. They still find places to perch, food to eat, and a place to spread their wings and fly. I imagine ole Ponce, pushing through the wilderness (like I did as a child), coming out to the shore of the river, and seeing birds congregated in the trees much like these birds. So to, must the sights have been the same for the early pioneer families and former slaves that settled the area in the mid 1800's creating the town that is there today.

Pelicans on the remnants of a dock

Yes, the birds were there when we showed up, and they don't seem all that bothered with the concerns of society now. Some things change, others do not. but as long as you have a place to spread your wings, you'll be okay. And sometimes, the decay of what was, just brings us something new.
So in retrospect, maybe it wasn't the town that looked beat. A little more weathered, sure, but not beat. I just wasn't viewing it from the eyes of a 20 year old kid anymore.

Pier on the Indian River. Melbourne Beach Florida

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A City in Images

2012-10-03T20:33:00.004-07:00

Los Angeles City Hall

Every town, and City across the globe is alive. They teem with an evolving character unique to the place and the day. Buildings stand as quiet testament to the history and styles of the city's past, just as their upkeep tells the story of today. Photography can capture a cities pulse like few other mediums. Photos show the city from a perspective brought by the photographer. Framing, composition, and subject matter all can mold an image into an statement.

Los Angeles at Night

Sometimes a building itself can be iconic and draw you to it. Isolating itself from the architectural cacophony that surrounds it. Rising triumphantly and demanding attention. Other times the city as a whole can merge together as one imposing, monolithic beacon. It stares you down from a distance and takes control of the image.

Pay Phone in Los Angeles

Some say the true character of a city only can be felt from within. The streets and alleys pulse with life. The signs and graffiti speak truths, and the shoulders of the people bear the weight of the times. The history of a city is tucked away in it's streets. the bright and shiny and new can be found side by side with the craftsmanship of days gone by. Some of this history stands proudly deteriorating, reminding you of what once was. Some is obstructed by a new coat of paint, or gilded facade. It all bleeds out though, it show you signs of what was and what may be coming. You just need to look, aim, and snap a picture.

Weathered Palace Newsreel Theatre Sign

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Technology and photography

2012-09-26T21:45:00.003-07:00

Lamborghini Aventador at the L.A. Auto Show

*Pictures not related.
Is modern Technology killing the art of photography? It seems to be a topic that comes up a lot these days. I've seen photographers on twitter complain about being told "it's the camera that takes great pictures, not you". If you follow the news much, there seems to be a global uproar about magazines "Photoshoping" pictures. Of course the reality is, this is not new. There is substantial evidence (see this CBS News article) to show that photo manipulation has been around since... well, before photos. The theory is that Renascence painters would use a camera obscura to project an image of their subject onto the canvas, and then they would simple trace the projection. This would allow them to get very good detail without having to make the model pose for days. After the model leaves, the artist would go back and paint over the sketch. Sounds like Photoshop to me. I would speculate that many King and Queen left artists with explicit instructions to "trim the waistline" or "drop the double chin"
"That's Different" you say. "There was no photographic emulsion then, there were no image sensors". True, but did people stop manipulating images once photographic emulsion was invented? There are many documented cases of people being added, and removed from photos in the mid 1800's. (As seen in this discussion on civilwartalk.com). There was also a cottage industry of "Spirit Photography" where unscrupulous photographers would use double exposure, and darkroom tricks to add "ghosts" to images. (See this article by Kristi Finefield on the Library of Congress Blog).
"But what about the true artists? they didn't do that". Have you heard of Man Ray? Andy Warhol? Even Ansel Adams, the king of natural landscapes, heavily manipulated his images in the darkroom. He even wrote a very good book on the subject that I suggest all of you read. Ansel Adams: The Print . In the book, Adams goes into detail on photo manipulation and the many techniques to accomplish it (like burning and dodging... yes like the photoshop tools.) He even goes as far as to theorize that the actual taking of the photograph is just the "visualization" of the photograph. The actual printing (and manipulation of the negative) is the true creation of the photograph.

A tree on a hill at the top of Reseda Blvd

*On a similar note, early in my career when I used to work for an optical effects house in Glendale Ca, I had the pleasure of working with an effects artist named Gene Young. Gene once worked for a guy named Linwood Dunn. Linwood Dunn is one of the pioneers of motion picture optical effects. Gene told me a story once about how Linwood (while working at RKO for Howard Hughes) would take a small piece of gauze and use it to blur the cleavage on an actress while making a film print so the censors wouldn't attack the film. So now you know where photoshops Gaussian blur comes from.)

Skull Beads

I personally believe that post processing of an image is a part of the art form, but the ability to frame and capture a distinct moment in a way that conveys an idea is the true art. Does the modern camera lessen that in anyway? It makes it easier, true. A photographer can now focus on finding that moment. With a modern camera you no longer need to worry about whether you have the right speed film in your camera for the conditions you are shooting in. (Of course you could always push or pull your film in processing if you screwed that up). A modern photographer doesn't need to worry about focus with auto focus lenses. (but let's face it, if you are like me, that is set to manual most of the time anyway because the auto focus always pics the wrong thing to focus on., and auto focus lenses have been around a lot longer then digital cameras). Modern camera's automatically set the exposure... yes, so photographers don't need to pull out exposure meters every 5 minutes now... They still need to determine the depth of field they want for the image, and set the iris accordingly.

Culver City as seen from the Getty Center

The real "problem" with modern technology and photography is that it puts the tools of the professional in the hands of everyone. and since a pro can't be everywhere at once, regular people are getting great shots that they can sell, and it is cutting into the pros pockets. Even though Bob from accounting may make an extra $20.00 a month from selling his vacation photos on istock, it will still be the professional who is hired to get the shot of the couple at the romantic candle lit dinner, shot in a studio, professionally lit, with a make-up artist touching up the models, prop people making sure the food, and wine look perfect, and an agency exec in the back complaining that the out of focus deep background corner of the room is to dark. True, the professional photography industry has to adapt and change because of technology, but that is true of all industry. As a true fan of the art form, I dare say this is a good thing. Imagine for a minute how amazing it would have been if everyone had their cell phone cameras out during the signing of the Declaration of Independence, the fall of the Walls of Jericho, the construction of the pyramids, the battle of Waterloo. For the first time in history, everyone can be involved in documenting our society, and our times. In a hundred years, history students will know us because they will be able to look into our eyes, and more importantly they will be able to see the world through our eyes. That is the job of the photographer: To capture this moment in time. the more shutters going of the better, the more people sitting in front of their computers manipulating an image to better convey a thought or feeling the better.

Occupy Protester in L.A. 2011

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Review: Canon Powershot ELPH 500 HS

2012-09-21T14:56:00.001-07:00

If you would have asked me about point and shoot cameras a year ago, I would have told you they are dead. With the increase of good quality cell phone cameras, why would anyone want a point and shoot?
Well recently I discovered why. I was in need of a camera with a real optical zoom, and better quality then my cell phone camera could provide, but still small enough to not be a nuisance. I wanted the total package. something with a respectable pixel count, shoots HD video, and was inexpensive. I found it in the Canon PowerShot ELPH 500 HS .
The day after I bought this little (about the size of a pack of cigarettes) point and shoot, I went on a Google+ photo walk at the Old L.A. Zoo, and Travel Town in Griffith Park. I brought my new point and shoot along with my Canon EOS Rebel T2i . I had an old Canon 35-70mm EF lens on the T2i. The Power shot is a 12.1 megapixel camera with a 1/2.3-inch CMOS senosr. (the T2i has an 18 megapixel APS-C sensor). Although the T2i images are better in a side by side comparison, the 500HS performs very well for the drastically cheaper price. The touch screen on the back is a good size, and works well, although the touch focus can be a little off. (Often selecting an area just to the side of where I actually touch).
The auto settings work very well, and the images look really nice. The largest image setting in the camera is 4:3 and I personally find that to be an ugly aspect ratio, but I guess the logical argument to that would be to crop the image later (as I did with all the images in the post except the one on the right, and the bottom photo). The battery life is exceptional. (I charged the camera when I purchased it, and a week ( and 150 photos, and a few dozen video clips) later, it still is reading a full charge. In a standard Canon flaw, the SD card slot is in the same spot as the batter, and both are inaccessible when the camera is mounted on a tripod. This, however, has little relevance on a point and shoot that under most circumstances won't be used on a tripod. (at least not enough that you would need to change the card and/or battery while it was still on the tripod). The camera has an ISO range of 100 to 3200, and although there is noticeable noise in the higher ISO's, it is still better then I would have expected from such a low cost camera. The image stabilization on the video is ok, and it kicks in on low light stills.

The smaller sensor size (although many may disagree) is a good thing on a point and shoot as it tends to give you a wide depth of field (see my blog on the subject of depth of field). I feel when you need a point and shoot, (quick photo opportunities, vacations, etc) a wide depth of field is a good thing. This is clearly demonstrated in the bottom photo. So if you are looking for a pocket camera that can still shoot good images, and HD video, I would suggest the 500HS. It's quality is better then I would expect from a camera in this price range.

*Check back for low light and video comparisons with the 500HS.

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Everyone Needs Some Good Glass (pt-2: Prime vs Zoom)

2012-09-13T19:45:00.000-07:00

Los Angeles's El Ray Theater

Last month, I was in San Francisco. I took some time to go shoot the Golden Gate Bridge with an L-series 24mm lens, and a standard Canon zoom. I compared the photos shot with the different lenses, and wrote a blog about it. (You can view the original post here). It was pointed out to me that since I had manually set the L-series lens, and left the zoom on auto, the differences may have had more to do with the f-stop then the glass. I decided to re-visit the subject with a new post, and this time both lenses would be set to f/16 with the camera set at an ISO of 200. I set the my Canon T2i to aperture priority so it would choose the best shutter speed. I set up my tripod, and shot both sets of pictures from the same position.The two lenses I used where the standard (comes with the camera) Canon EF-S 18-55mm zoom, and an old FD L-series 24mm (f1.4). I adapted it to the camera with a Fotodiox Lens Mount Adapter . This particular adapter has an element to adjust for the difference in flange depth between the FD and EF mounts (thus allowing a full range of focus). This element however, appears to magnify the image a bit, as well as cause some light loss. (As is evident by the different exposure times.)

Beverly Hills City Hall

It also deserves to be noted that the L-series lens is a prime lens, and the standard lens is a zoom. The additional elements in the zoom are most likely the culprit for the additional refraction evident in the photos shot with it. This is most visible around light sources such as the street light in the above photo of the El Ray Theater in Los Angeles. However, in the photo on the right (of the Beverly Hills City Hall) Their is an odd refraction in the center of the image of the photo taken with the 24mm. I suspect that is caused by the additional element in the Fotodiox adapter. The star pattern that you see around light sources is coming from the blades of the iris. (I am stopped down to f/16) If I had shot these same images wide open, all of the light sources would appear round. The images from the 24mm lens are sharper then the ones shot with the 18-55mm. The color also looks better to me. A big advantage to the L-series lens that these photos do not demonstrate is the speed. the 18-55mm zoom is f3.5-5.6 (changing a bit through the length of the zoom). The L-series lens is an f1.4. That is 4 full stops faster. Considering each stop is "a halving of the light intensity from the previous stop", you can shoot in lower light conditions without the long exposures I've used in these photos. (maybe a comparison for pt 3).

Paramount Pictures Front Gate

What is clear in these photos is the usefulness of a prime lens. Just because you can get a 24mm shot with your zoom, doesn't mean it will be the best choice of lenses. Every piece of glass between your subject and your image collector (be it film or a digital sensor) degrades your image. Prime lenses have less glass in them, and therefore give you a better image with less refraction, and less light loss.
The refraction is particularly evident in the photo on the left of the front gates to Paramount studios in Hollywood California, and the picture below of Wilshire Blvd.

*You may notice light streaks in most of the photos on this page. Those light streaks are the lights on the cars that drove by while the shutter was open (in some cases over 30 seconds). with a long exposure, anything moving quickly through the frame (like a car) will not be seen. However if that quickly moving object has a light source (like headlights or tail lights), they will register in ever position they were in while the shutter was open. This produces the glowing streaks in these shots.

Wilshire Blvd, Los Angeles

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light them... but don't light them.

2012-09-05T12:21:00.000-07:00

The incredibly talented Monique Parent

There is a trend going on that runs by the motto "light everything but your talent." What they really mean is indirect lighting. The photo on the left of Monique Parent was taken with a soft source on the left as a key, and a window providing soft fill on the right. Despite using a very soft lighting setup, the photo still is able to produce rich shadows, while the key is able to softly wrap around the talent. Although this photo is still directly lit, I feel it falls into the indirect vibe.

Monique Parent

For an even more dramatic look, you can utilize back-lights to bounce and fill your talent. This photo (also of Monique Parent) uses a strong back light. The bounce from that light is indirectly filling her face, and giving a great edge background separation. The background material is actually 1 stop brighter then Moniques face. Motion picture Gaffer Ama MacDonald once told me that as long as something in your shot is properly exposed, the rest of the shot can be under or overexposed (including your main subject). This seems like a simple concept, but after years of setting the exposure to the talents face, it took a bit of getting used to for me. However, the dramatic look of this indirect lighting can be quite compelling.

Regina Bailey

In this next photo, I used two back lights to light Model Regina Bailey. I then used a bounce card in front of her to fill in her face. The back lights give a wonderful edge to her face and hair. The bounce provides beautiful glow to her skin. If you do not have the option to use professional lighting instruments to light your subject, this same effect can be used with sunlight. As you can see in the below photo (also of model Regina Bailey), I used the sun as a back light, and positioned the model next to a post that was being directly hit by the sun (on the side we can't see). The bounce from the post gave a beautiful warm bounce to Regina. The bounce is, of course, very soft. The intensity of the back light is also able to give a great separation between the background and the subject.
So next time you are looking for something different in your shots, try indirect lighting. Use back lights and bounce for fill. the effects can be very dramatic.

Regina Bailey

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How to make 3D Anaglyphs

2012-08-29T12:27:00.000-07:00

a 3D light in front of a bookshelf

3D. It's all the rage with Hollywood. Have you ever wanted to shoot your own 3D? The process is quite simple, and you don't even need a 3D camera. You can do this process with 2 cameras mounted side by side. If you are going to mount 2 cameras side by side, you must have them both pointed slightly toward the center. this is called convergence. 3D mimics your 2 eyes, and both of your eyes focus on the same object, so you need to have the cameras pointed at the same object. (for best results, try an object in the distance, and then experiment.) All of the photos in this post, were shot with a Stereo Realist camera on Ilford 35mm film.

The Capital Records building in 3D

However you go about getting your stereo pair of images, the next step is to bring them into Photoshop . Once in photoshop, take your left picture, and add a new layer above it. go to your color selector, and choose color #00FFFF (bright turquoise). Fill this new layer with this color. Next, duplicate the turquoise layer, and invert it. This should give you a red layer. Take your right image, and paste it between the turquoise and red layers.
Your photo should now have 4 layers. on the bottom is your left image. above that is your turquoise layer. Above that is your right image. On top is the red layer.
Go to your top layer, and change the blending mode to screen. Now combine your top 2 images into 1 layer. hide that layer.
go to your turquoise layer, and turn its blending mode to screen. combine it with your left image.
Turn your right image back on, and switch its blending mode to multiply.
You now have a 3D Anaglyph. Put on some 3D glasses and enjoy.

3D wooded path

For more 3D images I suggest looking at these books.

Harold Lloyd's Hollywood Nudes in 3-D!

California in Depth: A Stereoscopic History

The Civil War in Depth: History in 3-D

original stereo images

3D: Bekka on the couch

3D Regina offering a beer

A Photography Mission

2012-08-22T12:56:00.001-07:00

Statue of Fray Junipero Serra

I woke up this morning with a plan. A mission. I drove into Hollywood to shoot a bunch of photos for this blog. I was going to talk about taking better vacation photos. But alas, tourists, film crews, and even trees thwarted my plans. Nothing I wanted to shoot looked good today. So I got angry, and headed home. I missed my exit, got stuck in traffic, and ended up on the other side of the San Fernando Valley. It was hot out, and I was a bit hot under the collar. Then I took a moment to breathe.
I started taking photography seriously when I was in film school. It started out as a way to see how different emulsions reacted to different conditions without having to spend a lot of money on motion picture film. (I would buy Kodak motion picture stock in 35mm still camera spools from the now gone RGB Labs in Hollywood). I soon fell in love with photography. I found it calming to go out and shoot. I liked capturing the world the way I saw it. I could spend hours taking pictures of architecture, landscapes, whatever. just me and a camera. This morning, the love was missing. It felt more like a job. something I had to do, and I didn't like that.

Fountain at Mission San Fernando

So I calmed myself down, and decided to head over to the San Fernando Mission The Mission San Fernando Rey De Espa was founded in 1797, and since I am a bit of a historical nut, it had been on my list of places to photograph.
The place has been restored and is still a working church. The grounds are very well kept, and it leads to a nice dichotomy as seen in the picture to the right of the very old and weathered fountain in the middle of the well manicured lawns.

Blacksmith Tools

There is also a nice museum housed in one of the buildings.There are some great displays on Life in California in the early 1800's Including this great display of blacksmith tools in the photo on the left.
Walking around This historical place, looking at photos from the 1800's and taking my own photos made me forget the stresses of the morning, and reminded me why I love photography.

The Cross in front of Mission San Fernando Rey De Espa

So I guess if there is a lesson or tip in this post, it is to shoot what you love. Shoot what you see, and shoot what you feel. People will hire you, or follow your blog, or buy your prints because they like the vision you present. In this age of auto focus, and auto exposure cameras, It is your vision that makes your photos unique. When you start trying to shoot what you think someone else wants you to shoot, then you are not shooting with the vision that they wanted.

All photos in this post were shot on a Canon T2i

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*Video added 10/8/2012

A Bit More In Depth with Depth of Field

2012-08-15T19:10:00.000-07:00

Cherry Tomatoes (shallow focus)

Depth of Field is what looks like it is in focus in your shot. A camera can only focus on one specific point at a time.This is called a focal point, and it is the one place where a point will render as a point on your photograph. All the objects closer or farther then that point will render as a blur in the shape of your camera's aperture. (This blur is sometimes referred to as a circle of confusion). The Depth of Field is the area where those blurs will be so small, that they will still appear as a point to the viewer. A shallow focus, or narrow Depth of Field, (as illustrated in the photo to the left) will direct your viewers eyes right where you want them by leaving little else in the shot in focus. This is very useful when photographing an object, product or anything else that you want to be the center off attention in you photograph.

Depth of Field is affected by many factors, most of which are easily controllable. Since the out of focus area is simply a blur in the shape of your aperture, changing your f-stop will change your Depth of Field. A smaller iris (higher f-stop) will have greater Depth of Field, A wider iris (lower f-stop) will have a shallower focus. You can compensate for the different f-stops by using a different shutter speed, changing your ISO, adding or removing Neutral Density filters, or adjusting the light on your subject.

300mm 75mm (enlarged) 75mm (full frame)

Focal length is also a large determining factor in Depth of Field. The wider the lens you use, the greater the Depth of Field will be as long as you stay focused on the same distance away from you. (ie a 24mm lens at f5.6 will have a greater Depth of Field then a 70mm lens at f5.6 if they are both focused to 10' away). The photo on the left shows how the perceived focus increases as you "zoom out". The background foliage is far sharper in the wider shot.

The San Fernando Valley (deep focus)

The distance from you to your subject will also play an import role in Depth of Field. If you are focused on an object 10' away, and then walk closer and (using the same focal length) refocus on the same object at 4' away your depth of field will have decreased. The picture to the right is a very wide shot focused to infinity with a relatively tight aperture (f/8). This creates a very wide depth of field (also called deep focus). Compared to the photograph of the tomatoes where 1 inch threw things way out of focus, this photo seems to hold sharp for miles.

The last factor for depth of field that I am going to discuss here is acquisition size. Whether it is the size of your piece of film, or the size of your digital sensor, the smaller the size, the greater the Depth of Field. It is because of this, that your cell phone camera, with its wide lens and tiny sensor, takes picture that seem like everything is in focus. Standard 35mm still pictures use an actual frame size of 24mm x 36mm. The Canon 5D , and many other "full frame" digital cameras have a digital sensor that is also 24mm x 36mm. 35mm motion picture film uses a frame size of 13.5mm x 24mm which is closer to the advantix C still film format which measures 14.9mm x 22.3mm. This is also the sensor size on a Canon 7D (making it a better choice to match a 35mm motion picture look). An Iphone 4s uses a sensor that is 4.54 mm x 3.42 mm. Far smaller then even a Kodak Disc camera that used an 8mm x 11mm frame size. That is why focus is rarely an issue with a cell phone camera. the tiny sensor size, combined with the usual wide angle lens makes for a very large Depth of Field.

*There is a nice Depth of Field calculator here
*There are Depth of Field equations here
*visit my website at daviddefino.com

Film is Knocking at The Door

2012-08-08T15:30:00.001-07:00

Ezra Buzzington and Elina Madsen as John and Wilma Hopper

A few years back, I received a call from Chad Ferrin about a film he was making called Someone's Knocking at the Door. Chad asked me to be the Gaffer on the film (I had been the Gaffer on Chad's 2 previous films Easter Bunny, Kill! Kill! and The Ghouls ) More importantly (to this blog) Chad also asked me to shoot some stills for the picture. A scene in the file room required photos of patients to be attached to the files, and Chad wanted the photos to be of the rest of the cast. Beings as these photos were supposed to be from files dating back decades, we felt it was appropriate to shoot them in black and white, on film. I decided to shoot with my Bronica 6x4.5 and use Ilford HP-5 Plus Film. (The Actors in the above shot are Ezra Buzzington and Elina Madison. They play the villains in the film.)

Some of the cast of Someone's Knocking at the Door

I processed all the film myself using D-47 developer, and printed the shots in my darkroom on Ilford paper. (You can see the Ezra, and Elina prints in the trailer below). I believe that as long as I can get the film and chemicals, I will continue to shoot black & White film when the opportunities arise. There is something magical about setting your enlarger, exposing the paper, putting it in the developer bath and watching your image appear. I prefer the glow of the red darkroom light to the glow of my computer monitor any day... or maybe it's just the fumes from the developer getting to me.

Director Chad Ferrin takes a breather

Then there's the grain. Besides shooting the file photos, I was also able to shoot some behind the scenes photos during production. For this, I used a Canon 35mm, and Ilford 3200 speed film (I also had a Canon XTI dslr along for color shots). There is something special about the grain in 3200 speed film. It's like printing a picture on sandpaper. It gives film that gritty, organic look that sets it apart from digital. Face it, Digital noise is ugly, film grain is beautiful. The shot to the left was taken during the morgue scene. the make-up team is putting finishing touches on the back of actor Jordan Lawson, while Cinematographer Niklas Larsson looks on. Director Chad Ferrin rests on an apple box.

Lew Temple as Coroner Collins

This next shot was taken during rehearsals and features the coroner (played by Lew Temple) facing the camera and one of the detectives (played by David Z. Stamp) with his back to us, as well as the before mentioned Jordan Lawson on the table. Also shot on 3200 speed Ilford film the grain, and shadow value adds to this shot, giving a different vibe then is in the actual scene in the film (part of which can be seen in the trailer below).
Although digital imaging has risen up to take the place of film as the main source of image acquisition these days, I feel film will continue to be a viable option. It will always have a unique look, and will therefore always be used when that look is needed.
So I end this post with a digital shot. The fat man, like film, wandering off alone.

Det Fuller walking alone.

Check out the trailer for the film below, or pick-up a copy if you haven't seen it.

Everyone Needs Some Good Glass

2012-08-01T11:06:00.002-07:00

I was in San Francisco last weekend for business, and I managed to slip away for an afternoon of photography at the Golden Gate Bridge . I was shooting on my Canon T2i , and I had my standard 35-70mm EF lens with me, and I also had an L-series 24mm FD mount lens (with a Fotodiox PRO Lens Mount Adapter adapter). The Fotodiox adapter has an extra element in it to correct for the difference in mounting position between the EF/EFS mount and the FD mount. I have been told that glass degrades the image a bit. However, the L-series being 3 stops faster makes it worth it in my book. I used all manual settings while using the L-series lens, and landscape mode with the EF. I found the images quite similar while shooting in broad daylight. In fact I may like the cheap zoom better. (I think the Canon software was the real winner here, the auto settings just did better then I did with the manual settings)

The L-series lens really began to shine when the sun went down. Although it is a faster lens, I shut the iris down as far as I could for depth of field, and let the camera determine the shutter speed. The top photo was shot with the L-series Lens, the bottom was shot with the zoom.The zoom lens was set to fully automatic, and shot at a 4.5 for a 3.2 sec exposure, while the L-series lens had a 32 sec exposure at an f16.

In these shots (taken of San Francisco from Ft. Baker), it is clear to see that the L-series lens is considerably sharper.

In these photos of the iconic bridge, (taken from a fishermans' pier in Ft Baker) the quality of the L-series lens is obvious. Although for ease of use, and flexibility, the cheap zoom is a great lens to have, I Think my L-series prime will always be in my bag when I am planning on shooting long exposure night shots.

*If you would like to purchase a print of the Golden Gate Bridge, I have them for sale (along with other prints of my work) at Deviant Art.

*The star pattern you see on the shots from the L-series lens are the result of the iris being stopped all the way down to f16. The "star light" is actually the light bleeding through the blades of the iris. The zoom lens was shooting at f4.5 (almost wide open for that lens) so you have a rounded light pattern in those shots.

Using the HD video mode on my Canon, I also shot this video of the Golden Gate Bridge. See if you can tell which lens I was using for these shots.

Night Photography

2012-07-25T13:06:00.000-07:00

I've always loved night photography. The rich shadows, and saturated colors always drew my eye. When I first started shooting night shots, we still used film. I had to plan out my shots, and usually did several exposures at different "shutter speeds" to see what would come out best. I shot this house sometime around 1997. The house was in Hollywood, and it was an overcast night. The city's lights gave the cloud's the orange glow of Sodium Vapor lamps, and the yellow from the homes incandescent interior lights really struck a chord in me. I believe I shot this on a 50mm from across the street, and I did 3 separate exposures. (45 sec, 1 min, and 1:15). I then trusted the lab to get a good print out of one of those.

With digital, there is much less "guess work". Most camera's "auto" mode will do long exposure whether you want them to or not. The camera is designed to get an exposure, and if there isn't enough light, it will hold the shutter open until it has it. blurring anything that moves in the frame, or the whole image if the camera moves. But what do you do when you want a good long exposure? Here are some tips to help you get that night shot, and make it look good.

Know your camera settings. If your camera is equipped with an "aperture priority mode", use that. Set your ISO low (200 should be fine), and close down that iris to try and get as much depth of field as possible. The camera should figure out the shutter speed automatically, but if it doesn't, set to manual mode, and try 30 seconds. If the picture is black, you need a longer exposure, if it's white, you need a shorter one.

Eliminate shake. Mount the camera. Use a tripod if you have one, set it down if you don't. Your heartbeat will shake the camera, and depending on how long the exposure is, and how long your lens is, that shake will probably blur your image. Use a remote triggering device if you can, or use the camera's timer to insure the act of pushing down on the shutter button doesn't shake the camera.

Use a wide lens. This isn't terribly important, but a wide lens will minimize the effects of any camera shake. The longer the lens, the more obvious any movement is. If the lens is zoomed in twice as tight as what your eyes see, any movement of the camera will be twice as pronounced. A wider lens will also give you a much wider depth of field helping to achieve a good focus (which can be somewhat difficult shooting wide open and zoomed in at night)

Finally, look for light sources. Window lights, street lights, and building lights all have different colors to them that are a bit subtle for most eyes to notice, but the camera will see them, and they will add a special color palette not often seen in daylight photos. If all you have is moonlight, that will work also, but your images may just look like daytime shots if you expose for to long.
For the motion picture crowd, unless you are doing time lapse, you can't shoot 30 fps and still do a 30 sec exposure. Your best bet will be to use the fastest lens you can get, and then test your camera with different f-stops and ISO settings. Compare different ISO settings and f-stops until you find an acceptable depth of field, and noise ratio. Use a wide, fast lens, and you should still get a good image. Remeber, the whole image does not need to be properly exposed. As long as one area is right, the rest of the image (even your subject) can be a stop or two under exposed.
*Research Tip: If you would like to look at some incredible examples of early 20th century B&W night photos, I highly recommend looking at Brassai: Paris by Night This book really captures a moment in history, as all of our photos together are capturing today.

Photo Composition Techniques: Some rules for you to break

2012-07-18T12:07:00.003-07:00

I’ve never been one to follow rules. I’ve always felt photography was more about feeling then it was about formula. Even in the dark room, I never use timers, thermometers, or any of that fancy science stuff. Photography is too organic for that. However, looking back at some of my work, I realize that I did “follow” the rules more then I thought. Why, because the rules make sense. They are aesthetically pleasing, and in that split second when you are trying to grab that shot, having the rules in the corner of your brain means one less thing to think about. Does this mean you should follow them all the time? Of course not. Is your picture wrong or bad if you don’t follow them? Not at all. So what good are they? Simple, the “rules” are things to remember to give your photo that... feel. So love it or hate it, here is my photocomposition tutorial.

The Rule Of Thirds:

Ah the rule of thirds. Look at an image, and divide it into 9 even blocks using 2 evenly spaced vertical lines, and 2 evenly spaced horizontal lines. Then try and line up your scene to these lines. The important things will work best on the intersection of these lines. Eyes, text, product, whatever it is you want the user to focus on, put it on those intersections. In the photo on the right, of the Station fire in Los Angeles, I sis not use any of the intersecting points, but the photo is clearly divided into thirds.

Off With Their Head!

When photographing people, or animals, pay attention to the bodies natural joints. Avoid cropping your pictures at the neck, elbow, waist, or knees. Instead, try to crop at places halfway between the joints. Cutting off at a bend point gives a severed feel to the image. While on the subject of body positioning, another good photo composition tip is to leave nose room. If your subject is looking from one side of the frame to the other, always leave room for them to look. Have more in the direction they are looking then behind them. In this photo, the subject (model Regina Bailey) looks comfortable, and natural. There is plenty of breathing room in front of her face, and the photo cuts off midway between her neck and elbows. As a general rule of thumb, a close-up is head and shoulders, a medium is from head to just above the waist, a "cowboy" shot is head to mid thigh, and a wide shot gets the whole body.

Patterns.

Pattern, symmetry, repetition, and lines that direct your viewers’ eye. These are all things that can be found in subtleties of landscapes (both rural and urban.) Utilize these things. Show your viewer the winding road ahead, or point them at the woman on the balcony. Vertical lines show strength and power, while horizontal lines convey serenity. Diagonal lines show action, and curves have a serene sensuality to them. Converging lines have a sense of contemplation and the unknown.

Depth of Field

Depth of field is what is perceived to be in focus in your image. Although a camera can only be focused on one point in space at a time, a wider depth of field will make more of the picture appear to be in focus. The size of your image plane (piece of film, or digital sensor) plays a part in depth of field, with a smaller image plane providing a wider depth of field and a larger image plane providing a narrower one. A wider angle lens will also increase the depth of field as will a smaller aperture. Throwing things out of focus is a great way to make sure your viewer is looking at what you want them to look at. So if you want that background to go out of focus, zoom in and open your iris. You can raise up your shutter speed to compensate for the wider aperture or us Neutral Density filters)

I’m sure some people will say these aren’t important, and some will say I’m leaving out the most important things. Truthfully, I don’t think about rules. I keep them in a corner of my brain, and when I raise the camera to my eye to frame a shot, they come out like a reflex. The camera raises or lowers to line up the natural elements of the scenes, I zoom in or out a bit, or step on way or the other. And these elements fall in line. It is what makes the image pleasing, and as long as you look through your viewfinder and try to find the most pleasing angle, and try to tell a story in you photograph, you will find that these rules will have applied themselves. Photography is organic, and when all the elements fall together, it is a priceless tool to tell a story.

Shoot The Moon!

2012-07-11T18:22:00.001-07:00

Have you ever shot a picture of the moon, and where disappointed to find that your photograph was of a blown out orb hanging in the sky? This is a phenomena that befuddles many photographers. The solution is really common sense. The problem is simple. Your camera is set for the lighting conditions of where you are at, not the lighting conditions of your object.

When we look at the moon, we are seeing the part of the moon that is lit by the sun. Although it is night time where you are taking the picture, it is broad daylight on the moon (at least the part that you can see).

The Above photo was shot with an ISO rating of 200, at a 1/125th sec shutter speed, and an iris set to f5.6. That is right, the camera is set to take a picture in daylight conditions. (I probably could have cranked that down to an f8). There is some adjusting to do on a photo by photo basis, When the moon is full, we are looking at it being directly lit. When it is a "new" moon, the side directly being lit by the sun faces away from us. That is why we can not see the new moon. The phase between show us a part of the sunlit side, and a part of the shaded side, and the "dawn/dusk" section in between.. The above photo was taken in Florida. It was in a small town, in a residential community. The clear sky, and lack of smog made the moon very clear.

The photo to the right, was taken with the exact same setting, and same lens (Canon 70-300mm zoom). However, this was taken in Los Angeles's beautiful San Fernando Valley. The angle of the sun to the moon made the moon darker, and the smog blurred the details a lot. This is why it is important to review your photo, and make adjustments. Is it a bit blown out? Close the iris a stop, or speed up the shutter speed. To dark? open it up. Go with a slower shutter speed, or a faster ISO. Is it blurry? Open up the iris and go with a faster shutter speed. Still blurry? go someplace without as much smog.

Below is a diagram of the moon phases using a ball and a 100w Fresnel to simulate the sun and the moon. The camera placement represents the earth relative to the sun and moon. A crescent moon is actually a 3/4 edge light. a half moon is a side light, and a full moon is a front light.

So remember, If you want a good photograph of the moon, get a long lens, take your camera off of auto, and set the manual settings as if you were shooting in the middle of the afternoon. Snap some shots, review them, and adjust as necessary. Also, if you live in a place with a lot of smog (like Los Angeles), drive out of town a couple hours. Enjoy some fresh air. it will do you some good. Now let's all go shoot the moon!