On May 21, join me at Profoto.com/live on location for a real senior portrait shoot.
Those of you who do not live in the US might wonder what a senior portrait is. It is simply a portrait taken of a student during his or hers senior year of high school. In this case, I am taking you on a real senior portrait shoot, which we have filmed just for you to see our lighting techniques.
We bring a single flash to the shoot and utilize simple yet effective lighting techniques that make lighting a portrait simple and beautiful. This webinar is not just for senior portrait photographers. Any photographer wanting to create beautiful portraits fast on location will have plenty to learn.
The webinar will take place on May 21 at 7PM CET (May 21 at 10AM Los Angeles, 1PM New York, 6PM London, 7PM Paris // May 22 at 1AM Beijing, 2AM Tokyo, 3AM Sydney).
Go to www.profoto.com/live to sign up or watch live.
Tomorrow (April 23, 2014 at 10 AM PDT) begins a series of Profoto webinars with me as your host. We will be tackling challenging problems with light with minimal gear. Our first photo shoot takes place in a dramatic desert landscape near Phoenix, Arizona. We create beautiful light with one B1 Profoto Off Camera Light and a variety of light shaping tools. Don’t miss the webinar. Ask questions live. See you tomorrow online!
Watch live (and sign up) at Profoto.com/live
You won’t find me at my desk or on this blog, or on Facebook or on location somewhere shooting today. You can find me anywhere in the world that has an internet connection. I am teaching on creativeLIVE.com today and tomorrow (Feb 24 and 25) for Photoshop Week. It is LIVE and it is FREE. So don’t miss it. You can even ask questions and I will be answering them live, online. CLICK HERE and watch!
I taught a photography workshop in Vienna and Budapest with Clay Blackmore and David Ziser through MZed. This year we will be in Barcelona, Spain [LEARN MORE HERE]. The experience is fantastic. Great people, great food, models, shooting locations, great instructors, and wonderful staff. It was such a pleasure to spend days, rather than hours with students (working professionals) who are thirsty for knowledge.
Here are a few images from my week in Budapest and Vienna.
On our first full day in Budapest we were allowed to photograph in an ancient and still operational bath house. What a fantastic start to our photographic journey. The place was absolutely full of textures and color. My lighting was accomplished with three Canon Speedlite 600RT flashes on their included flat foot stands (as I did not want to carry light stands with me to Budapest). I’d say they turned out very nice.
We spent a few hours wondering through the underground labyrinths under the streets of Buda Hill. These were apparently the dungeons that held the likes of Count Dracula himself (the real live person, not the vampire). It is fun to wander with a group of friends, but when those friends include photographers, every random streak of light through fog becomes and event. Unfortunately for my wife, she was the only non-photographer, so she became the subject of many a posed photograph. I am sure there will be a number of eery silhouettes of the lovely Danielle in the coming months on a few photographer blogs. She was a great sport about it all, and we had a lot of fun wandering in the shadowy underworld.
The photo I have chosen to show, however was one that kind of fell in my lap rather than needing to be set up. As Jeff led the way through the foggy tunnel, the mood lighting made a perfect and unexpected silhouette of him and his camera. I told him to freeze! Which he did. I then positioned myself for the best possible separation for his head, his face and his camera. We all worked on the shot a bit as Jeff dutifully stayed frozen in position. Carlos Martìn must receive credit for closing the gates just a bit, which I didn’t even know were there until he pulled them in. I was too focused on Jeff’s position. The gate gave me a lot to play with in the corners of the shot.
These kind of moments happen more often that we realize, but many times we pass them by in favor of getting to dinner on time, continuing our conversation, or just inattention to the moments and details. Sometimes we just let something beautiful pass us by and perhaps we regret not getting the shot. The world would have been just fine without this photo in it. Jeff didn’t even know the photo opportunity existed, and neither did anyone else in our group. I think he would have lived without it, but I know he is excited to have the image.
Many times, the moments in our lives are far more important than grabbing that great light or that perfect moment on camera. I have often told photographers in lectures to take a little time off from the camera, and live life rather than document it. It’s hard for us to do sometimes. Case in point… later that evening, we ended up in a cafe on the edge of Buda Hill watching the sunset, hot-cocoa in hand, listening to a unique little string quartet, when the violinist approached us and asked for a request. After a bit of thought, we requested Ave Maria (one of my favorite songs) and he began to play like he was born to play that song. It was very romantic.
Danielle describes what happened next by saying, she now has conclusive proof that I can handle about ninety seconds of romance and beauty before I have to pick up my camera and document it. It wasn’t until she began making fun of me that I realized what I had done, at which point, feeling a bit foolish, I set the camera down and enjoyed the next song without the camera in my hand.
The question then is, did I need my camera to enjoy the music and the moment? Was there even a beautiful shot to be made? I suggest not! This image is only worth the memory spark to tell a story about my own foolishness. And I can say for certain that I enjoyed the music far better with my wife’s hand in my hand rather than a camera. So why the gut reaction to pick up the camera to document everything? Is it a sickness? A habit? An obligation? I will spend my entire life attempting to understand it. In some instances, it is a blessing for my wife because our children’s lives are very well documented. But, it can interfere with life experiences as well. They say recognition is half the battle, the other half is doing something about it. I have found that I can be a far better date without a camera in my hands, so I will often leave my camera at home and just practice experiencing life. Sometimes it is painful to see beautiful moments happening knowing that they will only be available in my memory, but at least I will have experienced the moment rather than simply having observed it.
When we are traveling, the task of capturing the experience falls on me (or maybe, I take it on myself), so I feel I must carry a camera, but that doesn’t mean I must carry a large professional camera. And more importantly, I have to be able distinguish between a moment that is to be captured and a moment that is to be lived.
We took a day trip to Vienna on Friday and I swear I spent thirty minutes debating whether to take my pro gear or my point and shoot with me. Danielle questioned the wisdom of taking my point and shoot to such a beautiful city, but in the end, I am so happy I left all the pro gear in Budapest and walked those beautiful streets with nothing but a tiny camera in one hand and my wife’s hand in the other (see my notes above).
A small (manual) digital point and shoot camera is the perfect middle ground. When you are carrying heavy pro gear, it just gets used more. Maybe just to justify the weight of the gear. A small pocket camera, on the other hand, can be ignored until something critical presents itself, and as long as it is a quality camera, I can walk the streets and enjoy the experiences I am having until something truly needs documentation. And let’s face it, without some kind of a camera, a photographer might go crazy, so it is just nice to have one around.
Everything I shot in Vienna was done with the Canon G15 (a manually adjustable point and shoot camera) and many of the shots were taken at 1600 ISO or higher. So the camera holds up very nicely in most circumstances. Even in the catacombs, where incidentally, a small point and shoot is preferable, when photography is prohibited…
And yes, at the very least, an iPhone makes an acceptable camera to scratch that itch.
FYI. In this next image, the lights were not on. It was daytime. But I thought they would look better on, so I turned them on in Lightroom. Just thought you might find that interesting. So yes, it is not absolutely accurate. But it is more beautiful.
I saw a moment that called out to me, I suppose it was the light, angle of incident, the strange juxtaposition of a glowing telephone in a dark cathedral, the loneliness of the old man using it… but the photo looked nothing like this when I found it. It was cluttered with people passing through the shot, some were from my group and the rest the throngs of tourists moving in and out of the church. But I knew my frame and got my exposure set. I found a place to secure my camera against a column to steady it during the long exposure and waited patiently as my wife and friends left the church (I assume they thought I was with them).
As people left the frame, others entered, but I waited for the moment I knew would eventually come. A fraction of a second presented itself where everyone in the cathedral was just outside my frame, so in the hustle and bustle of a heavily trafficked church, was a moment of complete vacancy and solitude for my subject who feels completely alone. This is why I always tell people that photography is at best incapable of telling the “truth” and at worst an outright lie. The moment I am presenting here never occurred, not even for a fraction of a second. My subject never experienced the solitude you see here, maybe only in his mind was he alone, maybe he felt this way in his heart at the time, but I have no doubt that I only forced my vision of the scene on him.
In the end, any photograph will tell you more about the photographer than it will tell you about the scene or person in front of the camera. When we have our artist hats on, this suites us just fine. Like in this instance, I saw a metaphor, not the truth. So that is what you get to see. The problem becomes that you, the viewer don’t know when the photographer’s intention was to present the truth or just a metaphor. In most cases, the viewer is always better off assuming they are looking at and should treat every photograph as a metaphorical statement made by the photographer… even (especially) when the image is printed in the newspaper.
It was raining. We had umbrellas. The light was perfect. I am a bit of a theatrical show off. So it was only natural to start a “Singing in the Rain” musical number bit for the cameras. Right?
These next two images were taken by Cable Notebloom. Thanks Cable.
Budapest is home to a number of beautiful cathedrals. Danielle and I took the long climb to the top of St. Stephen’s cathedral in the middle of downtown Pest and while the top afforded us a great view of all of Budapest, my favorite image came from the design of the circular staircase. Which only further solidifies the adage that it is not the destination, but the journey…
It’s not a little thing that we were given access to the Budapest Opera House for a four hour photo shoot. I have to give Jeff Medford (the workshop’s brilliant coordinator) credit. This was an amazing experience for everyone, students and instructors. I spent most of the time there with a few students on Canon Speedlite control. We shot setups with just one off camera Speedlite and setups with up to five. While I don’t have very many of my own images from those setups, because I was simply advising students, I was able to make a few images as examples while I was setting up and explaining my light strategies.
This next shot required a total of five Canon Speedlite 600RT flashes and a small 24 inch softbox. One Speedlite with a soft box lights our model, which was the last light to be placed. The remaining lights were used to create depth in the shot. Each cross hallway is lit with a Speedlite, as is the very back corner of the hallway (which would be a black hole without the lights. There are a few windows in the shot which may appear to be illuminating the hallway, but on their own do very little. The Speedlites are doing most of the work, augmenting the natural direction of light provided by the windows.
The important thing to take away from this shot is that without a set of strategically placed flashes that fit in a small shoulder bag, this brilliant hallway would have been very dark and almost unusable. And the entire setup did not take very long. It is a prime example of pre-visualization. You have to see the possibilities in the hallway to select the location in the first place. Then, there has to be a clear vision for the shot to build in the lights quickly and set the scene, otherwise, the exploratory process is too long and takes up valuable shooting time. Wedding photography is a job that requires vision, skill and speed. So I spent a lot of time with Kam and Cabel (my students of the moment) explaining how to build the lighting into the shot quickly and with purpose. I think we got some great imagery.
Cabel then asked a very important question. “What if I only have a limited amount of time and can’t build a shot with five lights?”
So we went into bare bones mode. What if I only have one light? What is the best most efficient use of that light? At this point we had a lot of students gathering around the grand staircase as we discussed the shot. At one point, Clay Blackmore wandered in to shoot some video of our couple walking down the staircase.
Well, with one light pounding into the marble off camera right by about 20 feet, we were able to softly light our models and fill in any unwanted shadows in the room. Even though the original light source is a few small inches, the resulting bounced light makes our light source about 40 feet wide, which means we get very soft light… I think the results were fantastic.
I also spent a little time teaching a group of students about efficient use of a second shooter during a portrait session. I acted as the second shooter to the students who were shooting with the lights in the primary position. By working together, both the primary photographer and the second shooter are able to achieve completely unique and valuable shots. This represents the second shooter’s artistic shot that I made, as the primary shooter (a few students) made traditional portraits from the primary position. I also had a few students in the secondary position with me. It’s all about efficient use of time and recognition from the both the primary and secondary shooters of the other photographers position and shot needs, and working together to shift the pose back and forth to work for both camera positions. Of course, the subject is rarely aware of the second shooter’s efforts because the primary shooter is the only one directing her movements and actions.
Before leaving the Opera House, we were allowed to peek into the main Opera House and sit in the boxes for a few minutes. Danielle, posed for a snap shot memory of the box seat experience. Carlos Martín, prone to doing whatever he likes, found his way past the do not enter signs and velvet ropes to the King’s box (where the King or President would sit). You can see him and Coralee in the box behind Danielle.
There is an effort under way in Vienna to clean the stone faces of some of the buildings. Clearly, they could use a good scrubbing. Over the years, these brilliant white surfaces have become grey and in some cases even black. So, like every city I have ever traveled to, the best buildings are scafolded on one side or another. I was struck by the remarkable difference between the sides that have been cleaned and those slated for a future scrubbing. But as I photographed St. Stephen’s cathedral (in Vienna – there is one in Budapest too), I found myself wishing they would just leave the building alone. The soot has created a beautiful contrast to emphasise the sculptural elements, enhancing the dimensions and the textures. As a photographic subject, the building is far more interesting as a faded, dirty, raw old building than it is in its sparkly clean glory.
Sometimes we want so desperately to clean thing up, buy new things, streighten the books on the shelf, fuss with the wedding dress and the veil, spray the hair until it is locked perfectly in place, and yet, often times, perfection is far less interesting and beautiful than the natural state of things. Irving Penn warned that working on perfecting a subject for too long, often kills the life of the photograph. Imperfection is life. Time ages people, building and everything in this world. I love imperfections and weathering because it tells a story and that is what makes the photograph intriguing. Clean up this building and this photograph becomes far less interesting. Cleaning out the cobwebs make a place more livable, but not necessarily more beautiful.
On the very last day in Budapest, Danielle and I walked along the Danube River. We crossed beautiful bridges, admired fantastic architecture and bought trinkets, but our destination was the memorial for those who’s lives were taken by the Nazis in mass murders on the river’s edge. The memorial is a simple, understated line of bronzed tattered shoes. The shoes face the river as though they are prepared for their end and walking bravely to meet it. I think the direction of the shoes is also a powerful indictment of the cowardice of the Nazi’s, who slaughtered millions of innocent men, women and children (suggesting the act of shooting them in the back). I don’t know if the victims were told to face their assassins or not, but their despicable treachery is well condemned here. And more importantly, as we quietly took in the scene, the innocence of the victims, their humility, bravery, strength, fear, sadness and faith in deliverance hung around us in the air.
I asked Danielle to choose a pair of shoes and I watched her walk amongst the shoes and wondered which she would choose and why? Would it be a father’s boots, who struggled every day to make a living and feed his children and who now faced his murderers wondering what would become of his family? Would it be a set of tiny shoes that belonged to a helpless little child, separated from his parents, not even aware of what was to come? But as she pointed out a small set of simple boots standing side by side with her mother’s modest heeled dress shoes, tears began to form and we talked of a mother and her little girl standing on the edge of a beautiful river, in a beautiful city and we wondered how and why another human could have seen these two innocent lambs holding hands and done anything but run into the group, hold them both and suffer that fate with them… I wonder what the mother told her child. What did the father say to his son? Empowered by faith in God and with hope in his eyes, I hoped he would have had the strength to smile and say, “I will see you in a few minutes, son. We will be just fine.”
I struggle to write this in a blog that is usually filled with happy unions, beautiful moments with care free children and careless discussions about the importance of f-stops and shutter speeds. But while we stood there on the Danube, we had a chance to stand, not in, but near by others’ shoes and I could not help but feel I learned something about family and about God, who must have stood their that day with open arms on the other side to give his tormented sons and daughters a very real and very long embrace. And I just hope that as I enter difficult times of life that are full of fear, that I can hold my little girl’s hand and say with a reassuring smile, “we will be just fine.” And then step off into that river and await the unknown and the embrace that comes after the extreme trials of faith and hope. And while life is good, and while we are blessed with plenty and peace, this is the time to hold those I love close, build them up, teach them strength, conviction, faith and hope and above all to show them love.
I teach a lot of photographers about workflow and software and f-stops and shutter speeds, but the most important thing I can tach any photographer, or any person for that matter, is the importance of filling your mind and your heart with inspiration ( joyful and sorrowful). One cannot produce inspiring work from an empty well. And that is something that was so fantastic about the Budapest Master Class, it was more than an opportunity to learn technical photography, it was an opportunity to become inspired and experience life from another perspective, in another culture, to meet new and interesting people and see things in a completely different way.
If you would like to join us in Barcelona in October of 2014, go to www.MZed.com and mention JARED PLATT to receive $150 off your tuition for the class. I hope to see you there.
Samantha and Tim were married on Shoshone Point at the Grand Canyon. The wedding slideshow features the music of Native American flutist Kelvin Mockingbird (available on iTunes). These are a few of my favorite images.
You may have seen my engagement portrait session with Samantha and Tim on the Dry Tortugas. Sam and Tim are an adventerous couple and maybe better said, they love life experiences. So, when they made plans for their wedding, they went beyond planning a wedding and a honeymoon. They planned a wedding life experience, starting with a four day hike from the north rim to the south rim of the Grand Canyon and ending with a cliff side wedding on the south rim’s Shoshone Point.
Since I am the wedding photographer, their life experience becomes mine as well. A few days before the wedding, I hiked down the south rim of the grand canyon for four hours with 55 pounds of camping and photo gear on my back (which is apparently more weight that is advisable), so I arrived quite exhausted, but down was easy, up was much harder.
As you can see, the floor of the Grand Canyon is a desert (which at times this week was hitting 120 degrees plus). The mountains you see in the background are the cliffs that rise up and make the north rim of the Grand Canyon. We spent the evening on a short two mile hike, spent the night in our tents and began the long, challenging hike back up the South rim of the canyon the next morning at 5 am (to beat the heat).
Man, I love my job!
Following the path you see in the photo above, takes you to another impressive drop in the Grand Canyon to the absolute floor, the Colorado River. This sheer cliff is mind blowing. Even standing at a safe distance from the edge will give you the absolute creeps. But the view just cannot be beat.
When most brides and grooms are planning the final details of their wedding, playing a round of golf, or hitting the spa, Samantha and Tim were hefting their packs for 21 miles over four days in 110-122 degree heat, dropping and climbing roughly 6,000 feet on either side, and seeing some of the most breath taking views on the planet. I’d say that makes this wedding quite unique.
It’s a long way down. Even with a guardrail, you question your safety as you look over the edge. Tim is not too fond of heights…
At 5am we broke and left camp and headed up the south rim of the canyon. Each hour, the temperature would rise by ten degrees, so the earlier we started, the better. Tim gave me a hard time about the weight of my pack, but in the end, it could have been a lot heavier. I couldn’t risk hiking down into the canyon and have a camera fail, so I needed two cameras. But instead of taking two DSLRs, I took one paired down Canon Mark III with a 24-70mm lens and a Panasonic GH3 with a 35-100 and a 7-14. The Panasonic GH3 is a light weight, mirror-less, 4/3 camera and it’s lenses weigh almost nothing, but the quality is very high, so while I still used the Canon for many of my shots, the GH3 was a perfectly usable alternative.
Half way up, I realized I could use the monopod from my small tripod as a walking stick. That helped. Tim offered to take the rest of the tripod to lighten the load. Thanks Tim… my legs still thank you for that. Suffice it to say, when hiking with photographic gear, you might want to leave the camping gear at home!
Once you are on the trails for four hours, every switch back looks the same. I thought for sure the top was around the corner at every corner, and since Sam and Tim had not hiked this trail, and I had just come down the day before, when I told them we were almost there, they believed me… Until we met a ranger who informed us we still had about an hour to the top. Oops. Well, I was selling hope!
No, this isn’t us at the top. This is us close to the top. Close is a relative term.
After making it to the top, we had a day to recuperate from the hike and get ready for the wedding. I was grateful for the rest. Then, on the following day, at about noon, the getting ready began. Samantha was in her room getting ready and Tim was preparing with a trip to Shoshone Point for a little meditation and mental preparation for the wedding. You see, Tim has a fear of heights. Why then did he choose to get married on the edge of a cliff? I will tell you in a minute. Suffice it to say, he needed to spend some time with the cliff, so a little meditation was in order.
Meanwhile, the bride was putting on the dress and getting her hair done and looking like a million bucks! I got to help steam/iron the dress that had gotten a little wrinkled somewhere between Florida and Arizona.
Tim is crazy about Samantha!
It was a beautiful day and the canyon was singing with shadows and highlights. A cloudless sky is a double edged sword. It makes for harsh lighting conditions for portraits, but the lack of cloud cover keeps the canyon alive with contrast. So, a Grand Canyon wedding comes with it’s own special set of prayers: for scattered Cumulus clouds with a few strategically placed and well timed Cirrus clouds during the portrait session to soften the sun.
We didn’t get the Cumulus clouds, but we got a few Cirrus clouds.
This next shot is during the wedding. You don’t see the guests because they chose to sit much higher on the point, and you don’t see the officiant because she is awesome and always stands to the side so the couple is not crowded and so their photos don’t all have an officiant in every shot. How novel is that? Almost every wedding ceremony image is cluttered up by an officiant’s head sitting between the bride and groom and even during the kiss. “You may kiss the bride,” and I’ll just stand right here and and watch and make it look like I am kissing you both as well… Why don’t more officiants have this figured out? Samantha and Tim are actually saying their vows and I was able to get a shot with just them and the grandeur of the canyon. That should be celebrated. Don’t you think. So, I have to give many many thanks and compliments to David & Debra Joaquim because they think about the aesthetics of the ceremony and take themselves out of the way. I suppose it is a show of humility, that the wedding is not about the officiant, or the photographer, or the coordinator, or the mother of the bride, or the best man… it is about the bride and the groom and their commitment to each other. And with a little humility, we can all make the day more meaningful to them by stepping out of the spot light and serving the couple and fulfilling their needs rather than our own.
Incidentally, some of those clouds even placed themselves where we needed them. Photo prayers were answered. While the lighting was a little challenging on the bride and groom, it was magnificent on the canyon, and in the end, it is easier to light the couple with a soft box than it is to light the entire canyon.
I love this series portraits. The bride and groom look great and the light is so lovely, thanks to Ryan (my assistant), who was battling the winds with a big soft-box that at one point was trying to push him off the cliff. Good thing he’s a strong guy! This shot could not have happened without Ryan and his soft box. (The light was provided by an Einstein Mono Head, a vagabond power pack, a 30×40 White Lightning soft box and two pocket wizard transceivers.)
Now to discuss the fear of heights.
When you share major life experiences like these, you tend to develop a deeper relationship with people. Tim and I have had many deep conversations ranging a myriad of subjects as we have spent a lot of time together. When you compare the amount of time we have been photographing to the amount of time we have spent hiking, kayaking, cooking, eating, searching the sunset for the green flash, and discussing life… you might say, we haven’t been shooting photos at all. As odd as this may sound, coming from Tim and Sam’s wedding photographer, photographing less may be a good thing. Because portraits are portraits, but understanding is everything. I am always drawn to Henri Cartier-Bresson’s statement, “Photography is nothing, it’s life that interests me.” In fact, I have it branded on my studio wall to remind me that regardless of what I know about f-stops and camera gear and lighting techniques, those skills are worthless without a natural curiosity and love of life and for people. It’s the observation of life that makes great images, because that’s how we see the story that should be told.
In one of our conversations at the Canyon, Tim told me that the reason he wanted to get married in a place that would cause him fear was that he wanted to feel his bride’s calming influence and support as he said his vows. He wanted to feel her lifting him up against the will of gravity. Tim is a confident and successful man, so to hear him talk about this choice of location for the wedding helped me to see a lot about his relationship with Samantha. Ergo, it is not an accident or a whim that led to the photograph below. I watched Tim stay clear of cliff edges completely, or white knuckle their secure guardrails, while we were in the canyon, but on the day of the wedding he stood at the edge of the cliffs on Shoshone Point as calm as a summers morning. So this next image has become to me, the most telling portrait I made of the couple, but it comes from hours of discussion and a better understanding of Tim and Sam.
So, perhaps the most important thing a photographer and his clients can do is spend a little more time talking and a little less time shooting.
The last moments of light are always the best, and with the help of a small Canon 600 RT flash off to the left, it’s perfect.
Once the the sun goes down on Shoshone Point, there no more light. Fortunately we had a mostly full moon, so seeing was possible, but photography was not, without some additional help. During the signing of the marriage license, we needed some off camera lighting. Flash could have worked, but we are outside, so there is nothing off which to bounce the flash, and direct flash in that kind of darkness is blinding at any power. So the wedding party would have been left to sign the document in darkness. So we pulled out a constant LED light source called an Ice Light and a pocket LED torch. I was impressed with the final result.
You can see the light setup here. Ryan’s arms got very tired.
The job of photographing a wedding is a difficult one and requires a lot of problem solving, a lot of energy and a lot of love for the people you serve. But when you have a job that is this much fun, even when it is challenging, it is hard to call it a job.
Thank you Tim and Samantha for trusting us with the photography of this important year in your life. I will watch your future with interest and wish you all the best.
Wedding Photography by Jared Platt, Platt Photography
Wedding Location: The Grand Canyon, Shoshone Point
Wedding Officiant: David & Debra Joaquim
Wedding Slideshow Music by Kelvin Mockingbird, Courtesy of Kelvin Mockingbird, available on iTunes.
Thank you to Panasonic for the use of their lightweight GH3 4/3 Camera.
Adobe Lightroom 5 is here, and it is full of important new features that will increase your post production speed as well as just make you happy while working on your photos!
The most important feature added to Lightroom 5 is the Smart Previews, which makes working on RAW images possible without a connection to the original RAW images. It also makes working with my post-production house Shoot dot Edit even faster. There are so many reasons to use smart previews, and you can even print small images or post blog images from the smart previews while your original RAW images are sitting on a drive at home, unconnected… It is fantastic!
I am going to be sharing my favorite new features for the next few weeks. Make sure you tune in and follow The Lightroom Podcast to see all of the great new features in Lightroom and how I use them. Follow me on twitter @jaredplatt to get regular announcements each time I post a new video. Enjoy.
Need to speed up your post-production? Spend a week with me in Budapest for the most personalized photography workflow workshop ever. Learn more at www.budapestmasterclass.com
I am doing a FREE online workshop at the studios of CreativeLIVE in Seattle Washington on June 14-16, 2012. You can register to watch live online for free. If you would like to be a part of the studio audience in Seattle, you need to submit your video application by midnight tonight. Nothing fancy, just a video telling us why you should be selected to go. Details for submissions are listed HERE. I look forward to seeing you all online and in the studio on June 14-16.
Courtney, her sister, her mother and I all headed out into the desert for some cool senior portraits. Here are a few of my favorite images from the photo shoot.
We started fairly early in the afternoon by lighting standards which means that the sun was high in the sky and very bright. But with a fantastic camera (the Canon 1D Mark IV) and the best software (Adobe Lightroom) and a good understanding of lighting, harsh lighting does not have to be a problem.
You will notice that in many of those shots, I have Courtney facing away from the sun so that her face is in her own shadow. This means I have a “north light” studio with a very strong hair light. Then, with a little off camera fill light, matching the exposure is simple enough. I prefer to keep the flash (a Canon Speedlight 580 EX – no longer available – instead try the new 600EX-RT) in manual mode so that I am getting the same flash output every time, but in these bright lighting conditions, that requires shooting well above the camera/flash sync speed, and that can only be done off camera with a set of Pocket Wizard radio slaves (TT1 and TT5). With a speed light and a set of the pocket wizards, I can keep my flash in manual mode, but still have it operating in high speed sync, which makes matching the subject (flash) and the background (ambient) possible.
I do have to say that I am excited about the new Canon flash (600EX-RT) just released this month which may make the pocket wizards unnecessary. But I will be testing those very soon and I will let you know how well they work.
This is another example of using the off camera flash and high speed sync capabilities in a bright sunlight situation. I couldn’t have done without the flash on this shoot and I didn’t have my assistant, so I am so glad the set up is light weight and portable.
Here, you will notice there are no catch lights in the eyes. No flash was used. But since I was not placing her against the sky, I could get all the exposure latitude I needed from the camera without a flash. This requires attention to the highlights (making sure I do not over expose them) which makes the entire photo seem a bit dark. But, since I am shooting RAW, I can then brighten up the mid-tones in Lightroom 4 and I end up with a perfect exposure in the end. This is what Ansel Adams referred to as pre-vissualization. Were Ansel Adams shooting today, he would be using Lightroom. And no, that’s not blasphemous.
I will always love open shade best. And this is my favorite photograph of the day. Courtney’s hair frames the photo nicely and I really enjoy the treatment of the photo. I have always loved the look of film, digital can be too perfect and too smooth. In fact, I have found myself purposefully shooing higher ISO shots on my digital cameras even when I have abundant light just to get a little more grain into the photo.
I love the composition on this shot. The repeated lines in the skirt mimicked by the white picket fence is nice as well. One particular part of the composition that I love is the way the porch windows frame her head and shoulders. And I and so pleased with the faded black and white film look.
Ah, the good earth…
Courtney just looks fantastic in this shot. And I love all the texture in the collar. This shot is taken just as the sun dropped below the horizon. My favorite time of day.
If you like the photo treatments on these images, check out my Lightroom 4 preset collection, especially the Film Pack, at www.jaredplattworkshops.com.
Senior Portraits by Jared Platt, Platt Photography
Slideshow Music by Mindy Gledhill, courtesy of Triple Scoop Music
Location: Desert south of Chandler, Arizona
Merry Christmas from Platt Photography and the Platt family.
Here is the 2011 Christmas card photo shoot. My wife, Danielle is always coming up with great ideas for our Christmas cards. Each year, after Christmas, she starts working on the next year’s photo concept. This years was particularly difficult as we had to find all the clothing and the props. Some of it is completely authentic period clothing and some of it was either rented or even made for the photo shoot.
All of this started when my mother produced my grand-father’s kindergarten outfit from the early 1900’s. Then, Danielle was able to find a dress from about 1890 on ebay. She found some cute clothes for my daughter off the modern rack that had the same feel and then my eldest son and I rented various costume pieces and my mother sewed a few things we could not find. I also needed a period camera. The 4×5 camera I own is too new (circa 1940), so I put out an APB for wooden field camera and my friend Keith Pitts came through. It is an old thing and in need of much work, but looks great. Danielle also found an old wooden tripod, but there was no plate to connect the camera to the tripod, so we had to put the camera on a modern tripod and then lash the wood tripod to the outside of the modern tripod. Then with a little photoshop work, I was able to remove the modern tripod where it was showing through.
You will note that all of the photos are cropped to an 8×10 aspect ratio. I wanted to keep the authenticity of the shots even down to the aspect ratio common for the time period (i.e. 4×5 or 8×10) owing to the use of large format negatives, glass plates or tin types. I suppose I get a little persnickety about the details, but I wanted it to feel very authentic.
Here is a photo of my grandfather wearing the outfit my youngest son is now wearing in our photos. Earl is the one on the left.
My kids were thrilled with this photo shoot. I told the boys, you are not supposed to smile on any of these photos. “Really? Awesome!” They loved it.
This is one of my favorites from the entire photo shoot. It was just a grab during the planning of the photo, but I love it, love it!
Jackson was really getting into the role. I explained to my kids that in old photos no one smiled because they couldn’t hold a smile long enough for the long shutter speed and that they were always uncomfortable because they had to hold still and they sometimes even had a brace on their neck to keep them perfectly still for the photograph. So he did his best. Indiana (my daughter) on the other hand just did whatever she wanted.
I think this photograph is a perfect representation of Britton’s relationship with Indiana in comparison to the photo above. Britton has taken it upon himself to be Indie’s protector and caring older brother. He puts Indie first at all times and she is completely confident with her big brother as her backup.
This is another one of my favorites. Of course, the serious looks are perfect for the time period and not completely indicative of my wife and oldest son, but there is something very truthful about this photograph. You know, I always comment on how “true” images are of people that I photograph, but it is always with limited information about the people and who they are, so I am making educated guesses about their relationships and personalities (which I seem to get right most of the time), but when I photograph my own family, I get to see these shots and the “truths” contained in them with complete confidence that I am reading them correctly. There is something very proud in their relationship, a seriousness to it, complete with expectations and determination to succeed. Not that they are not playful with each other, but there is an element of seriousness in their relationship not as prevalent in her relationship with the other children that makes this photograph ring true.
And Indie continues to smile. She was just happy to be there.
Now, if there is one other photograph that rings “true” in this collection it is this one. This is a very good indication of my relationship with my daughter. She loves me very much and I am smitten with that little angel. She has taken to telling me two things on an hourly basis. “I love you” followed by, “I miss you daddy.” This, of course, melts my heart. I am not sure she understands what that means, but she seems to understand that it means that she wants to be around me. She was sick last night and called for me, and I spent a few hours up with her throughout the night, and although she was sick and I was tired, we both thoroughly enjoyed the time together. So, that is what is happening here in this photograph. She is breaking away from the family group because I am over by the camera and she wants to be near me, not in a crying and southed only by daddy kind of way, but in a genuine excited to be in my arms, kind of way.
My brother Rex Platt (my chief second shooter) is taking all of the photos that I am in, by the way. Thanks to Rex for all his help on this photo shoot. He is a great photographer and an even greater friend.
This boy just makes me smile every time I look at him.
And I love this photograph. That little muff was made by my mother. It was hard to get Indie to put her hands in it, but as it got colder in the evening, it was much easier to get her to see the wisdom in using it.
My mother also made his nickers. Thanks mom. Good job!
I think I could have enjoyed being a photographer in 1890, I am, after all a technical kind of guy and good in the darkroom, but I don’t miss the film days in the least. I shot these photos and an hour later I was sitting in a yogurt shop eating frozen yogurt, looking at the JPG copies of the shoot on my iPad with NIK’s Snapseed App adjusting them and making some preliminary crops and treatments, etc. Then I went home and loaded the RAW images into Lightroom and made the first round picks and started adjusting them. Minutes later, I was showing the images to my wife and making plans for the final Christmas card and this blog post, which will be released on Christmas Eve. This kind of turn around was unheard of anytime in the 20th century. So I don’t miss film one little bit even though I have extreme respect the medium.
About Snapseed by NIK. This is the best photo software on the iPad or iPhone. It does EVERYTHING I need to do to a photo on my iPhone or iPad. I used to have 30 different photo apps to do what I needed to get done, but now, when I am working on a photo on my handheld devices, Snapseed is all I use. You have to get this app if you work on your photos at all.
And while I am on the subject of NIK Software, I also have to mention the fact that every photo in this series went through NIK’s Silver Effects Pro 2 (a Photoshop, Lightroom and Aperture Plugin). Silver Effects Pro 2 is indispensable when you are serious about a film look. In this case, as much as I like Lightroom’s grain structure, I needed the photos to have a very realistic and accurate grain structure to match the historical feel of the photos. And when I need REAL FILM GRAIN, I exclusively turn to Silver Effects Pro 2. It is the gold standard for grain and film effects in digital imaging. I will have to post a tutorial on using NIK Silver Effects Pro 2, it is a great bit of software. I have included a screen shot below; it looks and feels a lot like Lightroom. I am shouting for a few obvious enhancements that need to be made and if I am successful, it will be absolutely perfect!
I suppose I am a photographer, truly. I know that sounds strange to say, but when I call someone a photographer, it does not mean they own a camera and make money with it. A photographer is a different breed of human. We live to document and capture with “meticulous exactitude”, the world around us. We don’t separate work from play. Photography is life, we don’t live unless we record life. I say this because I am so in love with this photo session because it was an opportunity for me to do something creative, fun and meaningful to me and my family and it was hard work, and it was fun and I cherish the moments we spent creating it and I cherish even more the moments I have spent looking at and thinking about the images and what they mean. People look at art (paintings and sculptures etc) and ask, “what does it mean,” but they don’t do that with most photographs, when in actuality, every photo has as much or more meaning than a concocted piece of art, because photographs have the added element of reality embedded in them. Even the randomly captured images have a deep meaning in them, stories, emotions, feelings, joys, sorrows, etc… I have been spending a lot of time with these photos this Christmas because I am proud of the execution and in love with the meanings they project.
I hope you get to spend a little time with a few photographs this Christmas and get the chance to ponder what they are saying to you.
Merry Christmas, from my family to yours and from my photographs to you.
Photographs by Jared Platt and Rex Platt, Platt Photography
Location: Gilbert, Arizona