Deep in the jungles of Toronto, we shot for Umoro's new line of camp joggers. On this excursion, I brought the Fujifilm GFX 50s with the 63mm and 110mm. In all honesty, all I used was the 63mm. Wide angles seem to suit my style of shooting. As always, I push for sunset because a directional light is way more flattering to work with. On this shoot, @jaylee.tv will be modeling the jogger. I always find it extraordinary how you can see the same location in many different ways along with exploring a new one. We went to the valley and followed the paths carved out by stoners.
After some coaching from a close friend, he reminded me that I need to continue to push my creativity. Being able to tell as story through our photos will always be more powerful. I was finding it tough finding a way to shoot cars in an interesting way. Car photography is a whole other animal. Composition is always important, but with such large subjects and even a larger environment.
With ample research, you can tell strong automotive photography has a story to tell. The environment plays a big roll. The more simple, the better, as that it doesn't detract from the car itself. These shots were taken in a mall parking structure one hour after it closed. Security wasn't an issue, even though they did question us being there. He just said make it quick and he never came back.
Lighting for the shots involved bouncing light off the ceiling and floor to get highlights and help kill reflections. Since cars are huge, these shots are comprised of up to 8 shots. The results are well worth the effort. Let me know if you can figure out the proposed based on these iconic automobiles.
Sometimes you meet someone who takes your interest completely. Over the years, I have learned to listen and put my views on reserve while taking in another prospective. Scott is one of these people. He explained his work, and how me makes a statement everyday as he meets numerous people. It was sunset, so I asked if he could give me some time to photograph him.
Hunting for good light is basically want we spend our life doing as a photographer. We either hunt it or do our best to create it. With the Fujifilm GFX 50s, when you find great light, the results are simply amazing. These photos were shot with a friend Aleksandra, who toughed out the brisk winds with me.
It has been a long time since scheduling off an afternoon to wonder the street. Street photography was the tool I used to get familiar with new gear and techniques. This time, it was gear, the Fujifilm GFX 50s. The camera is particularly slow and out of its element for quick focus acquisition, but once you figure out that it's you who must slow down, each shot composed is almost a masterpiece. Taking the time to stop and figure out why this scene caught your eye is what street photography is about. This time, with the GFX 50s, there is no fear of blown out highlights or lost shadows. Going medium format is freedom.
Have you ever bought something, and not have buyers remorse? I have found the one thing, the Fujifilm GFX 50s. From the moment you take your first photo, you will be smiling inside and out. It only gets better once you get these photos into post-production. The detail and flexibility just open the doors. You will never see a highlight and shadow recovery slider work so well. I had no shoot planned for today, but I grabbed @vinnierehab and shot a few by the back of the lab. I for one welcome the decreased speed of shoots. Quality over quantity always.
Equipment used: Fujifilm GFX 50s + Fujifilm GF 63mm
Shooting products are honestly one of harder subjects to shoot. Once you decide on the background and the base, it honestly becomes a game of inches with lighting. I usually tend to work with large modifiers that produce soft light, but when it comes to product, the opposite is needed. Hard light tends to produce the best gradients. To achieve gradients, grids are needed. Almost all lights used were grided. A tight grid was used to highlight the company name on the lid. I cannot stress the importance of using a modeling light, its the only ay to see what you will if you are placing the light
Working with gels can be as fun as it can be frustrating. Usually, when choosing colors the colors, I refer to a color wheel or mix colors which are similar. For this collection of photos, the use of grids is a must. The grids help restrict the spread of light, allowing the colors to be separate. As soon as the weahter lightens up, the gels will be used on location.
When it comes to last minute shoots and tight deadlines, I usually get booked. All Mike had to say was its a collab with Nike and I'm all for it. Since we had minimal time, we shot at one of Myodetox's clinics. When it comes to shooting in small spaces, light leaks and spill pose their challenges. Everything that can be gridded was. Light spilling onto the background would highlight all the unevenness and take away from the dramatic feel we were chasing.
One of the major differences between this shoot and others was the amount of pre-planning. We had Mike buy outfits. All the shoes were brand new and color matching came into scope for every outfit. The effort pays off ten fold. I am a big believer in having people play to their strengths.
The end final medium for these photos was print. A booklet that would be handed out before a run in Miami, filled with stretches that would help participants minimize injury. Because it would be print, colors needed to be on point. The use of a ColorChecker Passport was a must.
Thanks for looking. Now to see calculate when I can go medium format.
Finding time to go out and explore is a top priority this year. There is no better way to test your skills and limits in photography. Street photography happened more often when I first started out. It offered the most challenges when hunting for good light. If you wanted even more of a challenge, go out at night. Dressing for the weather is top priorty when going out in the winter, something we failed to do because we did not factor in the chilling wind. Enjoy the few photos we captured in Nathan Phillip Square.
Shooting products on white is a request that comes up all the time. It's funny how it seems like one of the more basic shoots but can be so complicated once you choose to refine it. As with many things, there are rules to ensure you get the cleanest photo possible.
Space is an important factor when it comes to shooting products and people on white. The distance between the background and subject is important to preserve edges. Lighting the background is also important where shooting on a white backdrop is not enough. The power setting you choose for the background should not be too much. When lighting the background, I choose a power setting that blows out the background just around the subject. If the other areas are not completely white, I will push them up in photoshop. Another important factor is to have crisp edges to make selections much easier in photoshop. To achieve this, I use f/9 or above if possible.
Image review on the back of your camera is good, but there are settings to help you achieve the wanted effect. I recommend turning on highlight warning. The areas that are completely blown out will flash black and white. This will let you know if your exposure settings are correct. The last thing you want is your subject to be overexposed. Apart from losing detail, it would certainly make your life harder during the editing process.
Enough of the technical side. Since this was a rain jacket with a hydrophobic coating, why not make it wet. With the help of Ashley, we soaked the jacket realistically from top to bottom. The shoulders carrying the majority of the water. The speckled water effect helps make for a more interesting shot. These photos were eventually used in social media and the product page. When posted on Instagram, it's rare that your audience will linger on an image for an extended time. Getting the point across quickly will help them understand the product quickly as they scroll.
Learning how to shoot photos on white took years of trial and error. Once you figure it out, you will have a mental checklist so you can get it right everytime. Once set up is understood, you can get on with making the most of the shoot creatively.
I stand by it, not everyone has the time to have their photo taken. I found this to be true of most celebrities or people with a jam-packed day. I read this a while ago in Joe Mcnally's book titled "The Moment it Clicks". Lord, I wish I knew where that book is today. I think I lent it to an ex's friend and I have come to terms that I will never be seeing that copy again.
When shooting portraits, I asked for 2 minutes max, but I'm sure I pulled it off in 45 seconds or less. Since this was not a photo shoot, my usual location lighting was not used. I do miss shooting natural light sometimes.
I was asked by Myodetox to cover CJ's visit through some training. Most of the shoot was candids, which no one really minds. I try to wear black and blend into the background. Well, as much as a 6'2" man can. He didn't seem to mind either way. Getting close to the action makes for better shots as well. I tried for closer shots once I felt he was comfortable.
This morning's training session was on the tough side, where he had not eaten and was placed on a red-eye the night before. By following both CJ and his trainer, I was able to catch a shot of him resting outside. As a photographer, you walk a fine line when it comes to storytelling and intrusion. I kept my distance as to not bother CJ.
The biggest take away from this shoot was being kicked out of the location about an hour into the shoot. To be honest, we only asked one of the 3 landlords that run the place. Sadly, it wasn't enough. Luckily, we were able to get most of the shots done before we were forced to leave. One tip, if you are asked to leave, leave. At least they most likely won't ask for the images you already captured. At least you are leaving with something.
We choose this location for the rustic feel. This heavily used loading area looks awesome on camera. having lights set up does not help your case when you try to explain this a small project.
Enjoy the images we were able to capture below.
Equipment: Canon 5DMK3 + Canon 50mm f/1.2 + Profoto B1 + Profoto Stripbank w/ Grid + Elinchrom 69" Octabank
Thanks for looking.
Location portraits are hands down my favorite to shoot. There is something about the challenges of balancing ambient light and flash and getting the best angle with the time given to the client that excites me.
The one takeaway from this gig was the unending snowstorm that morning. Something people have to understand about working for yourself is that you cannot be late. There is no such thing as a sick day or even calling in sick. I have made my way to gigs through flat tires, storms, traffic and with a looming gout attack. That's right, painkillers have got me through an event that you just can't miss. Your name is on the line, and negative news travels fast. To me, clients come first, time is paramount, and I always strive to do my best with the assists provided to me.
Enjoy this colorful collection shot for Loblaws.
Equipment: Nikon D4 + Nikon 24-70 f/2.8 ED + Profoto B1 + Profoto Large White Umbrella + Elinchrom Rotalux 69" Octabank
Thanks for looking
It's been some time since I've done a personal project where there is no one to deliver to but myself. I decided to do a small shoot with some of the guys from the car club during a track day event for BMWTN. I know that most of us can only do a couple of laps before letting the cars cool down so, I look this off-time to shoot some of the drivers and their cars.
When it comes to moving quickly, nothing beats the Profoto B1 and a few modifiers. The B1, when working indoors and alone can be a god sent. Here in Toronto, i was commissioned by BOLD Magazine to shoot a few portraits in the Four Seasons Hotel Jan H. Westcott, the President and CEO of Spirits Canada.
With a vast investment in gear behind me, I took a break from buying more lenses and cameras for a good amount of time. In my series of work, my weeks are spent shooting events and portraits. The Sigma 85mm f/1.4 DG HSM Art seemed like the perfect fit. Not only would it allows me to put down my Nikon 70-200mm f/2.8 VR, but make shooting long events less painful.
There is a lack of talk when it comes to the ergonomics of shooting and carrying gear. Every pound on you and in your hand adds up when it comes to 8 hour days, even 4 hour shoots. I am not saying, the Sigma 85mm f/1.4 DG HSM Art is a light lens, but it weighs less than the Nikon 70-200mm f/2.8 VR and most of the times, I can get physically closer to make 85mm work. After spending a week with the Sigma 85mm f/1.4 DG HSM Art, it is a definite keeper. The Nikon 70-200mm f/2.8 VR doesn't even leave my camera bag, although there is a place and time for it.
I used the Sigma 85mm f/1.4 DG HSM Art both in studio and on location.The lens is unbelievably sharp at f/1.4, but the sweet spot is f/2.0. This is my opinion, I haven't seen something this sharp since owning the Nikon 200mm f/2.0 VRI. If you would like to check out the rating, its has taken the top marks from DXOmark.
It has been a while since investing in a new lens, it brings me true excitement and wonder all over again. I know spending money and owning new things shouldn't be a reason to shoot more, but it's been so long. This is me convincing myself. Usually there's buyers remorse with gear, but after the first couple of shots, there is no doubt this lens will not become part of my arsenal. I look forward to leaving the 70-200mm in the bag, and moving to this lens as a lighter option.
Minimizing pain during a gig is paramount for me, because if you're not comfortable, there is no way you can preform your best. I know this from years of shoulder & back pain which adds up at the end of long shoots. This year, I have invested in supportive gear to help make sure pain in minimized. We all deserve a pain free career.
On behalf of Bold Magazine, I travelled to Cartagena, Colombia to cover the culture and food of such a historic city. Usually, I vouch for not taking a large amount of gear, but this time I planned and stuffed a Profoto B1 into my camera bag, In by checked bag, there was a disassembled Elinchrom 5ft octabank. One lightstand that barely fit diagonally and minimal lenses and cameras. I always travel with two camera bodies, this time I took my Nikon D800 and Canon 5D MKIII. Basically, it all fit and I passed through security with no problem. No questions about the B1 and what it is.
I absolutely love the Elinchrom rotalux system, its so quick and easy to set up, especially when your working mostly alone and the client is limited on time. We shot chefs and managers of the top resorts in the city. The last thing I wanted was to have them waiting on me to set up. By taking this gear on these trip, it truly allows me to come away with some great environmental portraits.
Partial.gallery is an art rental service for both residential and commercial use. I had the pleasure to capture some of the clients who proudly display their choice of art in their homes and places of work.
This day was a fun one, with up to five locations on a day. I absolutely love shooting everyday people. One thing I have found to be true is that when shooting working people, they are the most comfortable in familiar environments. This being their home, or work. It helps tremendously. When I'm on a white seamless, I can assimilate with my clients who shoot in video. When shooting on location, I am in bliss, unless studio is required and working with an experienced model.
This day, the challenge of balancing ambient light in tight and large spaces was welcomed. I will admit, some items may have been moved to build a more powerful photo.
Camera: Canon 5D MKIII Lenses: Canon 16-35mm f/2.8 & Canon 50mm f/1.2 Flash: Profoto B1 Modifiers: Profoto Zoom Reflector, Softlight Reflector, Elinchrom Octabank 69", Stripbank
It has been years since going on a street shoot. Street photography used to be my go to experiment with new techniques which I have read about. Everything from slow shutter panning shots to high DOF photos using a tripod to burn in a wide scene. I was asked to go shoot some architecture for Instagram and these were the few images created from a one hour walk around the financial district in Toronto.
I have to admit, it was a pleasure to go out and street shoot again. It was a bi-weekly occurrence when I was learning techniques, and it should continue. There is always more to learn and more weaknesses to strengthen.
Camera: Nikon D800 Lenses: Nikon 24-70mm f/2.8G ED & Nikon 50mm f/1.8G