Joining Wonderful Machine

Getting my work in front of a potential client is always a difficult proposition.

Like any business, most of my new clients are either by referral or when someone leaves one company for another. This is obviously a great way to get new clients but it has its limitations.

The main limitation is it can be a slow process. For example, one of the companies I shoot for is family-owned and the turnover there was next to nothing for years. Once people did start moving around I started getting phone calls from their past employees.

The second limitation I find is that I am often hired in a very limited field of photography. I was recently told that I had, “really created a name for myself in hair care products.” This is honestly GREAT and flattering because it is an obvious indication that my photographs are making an impact, but like anyone in a creative field I not only want to grow my business financially I also what to grow as a photographer. Part of that grown is shooting new, different, and more difficult products and spaces.

I recently had the honor of being accepted and joining Wonderful Machine.

Wonderful Machine is a marketing engine for commercial photographers that has a selection of about 600 photographers in 41 countries.

They don't accept everyone and as they state on their website, “The quality of your photographs & website and the uniqueness of your specialties & location are our primary concerns. Not every photographer is going to be a good fit for us.”

After submitting my portfolio for review and then going through an approval process I was asked to join.

My hope with joining Wonderful Machine is that I am able to move closer to my goals as a business and more importantly as a photographer.

Creating Gradients on a Shiny Product One

In this video, I talk in detail about how to create beautiful gradient light on a flat shiny object. I start by discussing how to create a gradient on the non-shiny background to give everyone a good base of understanding. Then I move on to discussing how to use a diffusion panel to create a gentle gradient on a Helle knife blade.

Barn doors

(The one I am using is by fotodiox but are no longer available)

Rosco Diffusion Filter Kit, 12 x 12 Sheets

Savage Diffusion Plastic Roll

Paul C. Buff Einstein Strobes used

Crevo Boots Top Down Shot

This week I'm working on a top-down shot for my boot project using Crevo boots. In this video, I'll take you behind the scenes and show how I set up two lights to create a low key moody image. Also, I go in-depth on composition and the styling for this image and I talk a little about coming up with the travel theme and how I decided on the props to use.

Low Key Two Light Setup

During this behind the scenes video I’m back working on my boot project. I purchased these Crevo boots back in December but I’d been so busy with client work that they set in storage waiting to be photographed. In this video I walk through the two light setup I use, go in-depth on my process for focus stacking and take the camera off the stand and grab detail shots.

Taking an Epic Photo of Cheap Sunglasses

In this weeks Behind the Scenes video I take a photo of Sun n’ Sport sunglasses. I use fishing line I hang the sunglasses in the scene. Then use painted prickly pear cactus and a bare bulb strobe to create a unique look.

To Light of Not to Light

If you are thinking of hiring a photographer to take interior photographs you will obviously need to know a lot of things. The top questions are:

• Is their current body of work any good?

• Do they create images that match my brand/design/aesthetic?

• Can I spend a day(s) with this person while they take pictures?

• How much do they cost?

• Does their schedule match with my needs?

Over the next several articles I would like to tackle each of these questions in turn. First I want to talk a little bit about “are these photos any good.” Now obviously I can't tell you whether you should like an image or not, but I thought I would take a moment to explain the different processes photographers use these days and the pitfalls and advantages of each. I could also expand on this and talk about composition and staging but for simplicity, I'm going to stick the subject of how photographers light a space.

The main types of interior photography are:

• Natural light/ Ambient light

Using only available exterior and interior light in the space

• HDR (High Dynamic Range)

HDR uses available light but the photographer will take several pictures and blind them together in Photoshop in order to get more detail in the shadows and highlights.

• Flash or Strobe only

• Flash and Ambient Mix

Let's tackle the good and bad of each.

Although this looks like natural light this image has a kiss of flash to add detail in the shadows.

• Natural Light

Using the available light is great! It allows a viewer to see the intentionality behind window placement and/or lighting fixtures and under ideal circumstances can be the best choice. However, spaces that have less than ideal lighting can look dark and dingy or flat and lifeless depending on the camera placement. Also, when there are several types of light sources, natural and artificial, the color differences can be stark (green florescent light, orange tungsten light, blue exterior light.) Depending on the space and time constraints there are ways around some of these problems: a photographer can block out windows to control direction and intensity, they can switch light bulbs to control color temperature and they can use Photoshop to fix some problems.

• HDR (or High Dynamic Range)

HDR uses a little Photoshop magic to extend a camera's ability to see the shadows and highlights. It would seem to be a great option to solve some of the lighting problems talked about above. Unfortunately, it can look very unnatural and it still doesn't solve the problem of color differences exterior natural light and interior artificial light. There are a lot of photographers that use this technique in a way that looks extremely fake and unrealistic. With HDR, as you bring down the highlights and bring up the shadows the image can become flat and lack shape. In an attempt to correct this some photographers add too much contrast in Photoshop which creates an unnatural look HDR has become known for.

• Flash Only

I reserve this for only the darkest of spaces but most places have some light or fixture I try to incorporate in order to give the lighting a realism and direction. Which leads us to...

• Flash and Ambient Mix

Personally, this is where I hang my hat the most, but like everything, it can go bad. The main reason for using a flash is to add light to the shadows and bring them closer in brightness to the ambient light. Balance is key! If the photographer goes too far the image will be flat with little definition and shape.

Another key to using flash it to try and mimic the direction of available light so that the lighting looks natural. Lastly, if done right a photographer can overpower color cast from artificial light so the image looks clean.

Detail of Texas hotel room. The direction of the light is meant to mimic the window light from the left but flash was used to over power the color cast of the artificial light.

The best method is situational. Like I said I find that I use flash and ambient mix the most but I prefer to used natural light whenever possible. However, in natural light situations, I always cover myself and shoot it as an HDR, but I try to avoid being heavy-handed in Photoshop. I can't think of a situation where I have only used flash for an interior image. There always seems to be at least one light fixture in a frame to add a little ambiance, even the darkest rooms.

Like anyone who is passionate about a subject I could go on and on about this but I hope this gives you a quick overview. If you have any questions or thoughts please leave a comment!

DIY Photography Diffusion Panel

Learn to build the quickest, cheapest, and most versatile photography diffusion panel for product photography. In this video, I give step by step instructions on how to build a PVC pipe diffusion panel. Great for any studio photography including still life and products. Make any size you need in minutes.

Johnston and Murphy boots on a Slate Background

This week I'm photographing Johnston and Murphy Boots on a simple slate tile background. I talk about changes to composition and lighting as a put together the final image.

Saphir shoe polish Behind-the-Scenes

I'm in the studio photographing Saphir shoe polish as a "detail" shot for my series of boot photographs. I take an in-depth look at my lighting setup and composing the image. After I capture a top-down photo I get the camera off the stand and take some shots freehand.

Top-Down Horizontal

I'm back in the studio to take a photo of some new-to-me Johnston & Murphy boots. I purchased these used boots online this past week in hopes that they weren't too scuffed up and I could use them for my boot promo project. Luckily, they were in really good condition. To make them look even better I decided to break out my Saphir shoe polish and shine kit and give them a good once over. With my kit strewn about I thought it would make a great scene for the next photo. Check out the video as a walk through the setup and concept.

Location Product Photography

Today I took my studio on location. In my continuing project of creating a unified photography promo of boots I set up in a local park. I scouted the location several days before and found a really interesting root next to a boulder. The first chance I had, I got up nice and early and dragged myself and my gear to the park. I carried sixty pounds worth of gear down a hill near the Stones River including my camera, light stand, Paul C. Buff Vagabond II, Einstein strobe, beauty dish and boots. I think it was well worth the effort though!

Boot Product Shot Behind the Scenes Video

This is a little behind-the-scenes video of a boot product photography test shoot. This photo is one of 20 images I hope to create. I then plan to edit the images down to produce a promo/mailer to send out to potential clients. I hope you enjoy the video!

Brain Stretching Logic Puzzles AKA Photography

I think of photography like building a puzzle. I start with the first corner piece (the product or the room) and then I add other pieces one at a time (Lights, the background elements, etc.) After I get the sides done I start on the center. In my case this involves me fussing over the small stuff. I move a light an inch here. I move a prop a foot further back. Slowly but surly I'll put together what I think is a pretty good/well composed image.

The puzzle takes shape but I've got a lot of pieces that look alike.

I start thinking about what I will need in Photoshop. I may need a bottle and a glass in focus or I need to light a specific area of the frame and nothing else. Whether I need one, two or twenty images I capture all I need so that when I'm in Photoshop I can continue putting the puzzle together.

This setup required 16 separate images to have the complete image in focus.

The last pieces are the cleaning, color correction and overall toning of the image. Like most puzzles if I've done everything right the last few pieces slide right into place.

To me the hardest part is the beginning when I don't really know what the puzzle is supposed to look like. If I'm lucky I've got the box photo to refer to (In this analogy that is a really good brief!) but more often my puzzles show up in a zip lock bag with a few pieces missing and extra pieces from some other puzzle.

This is way having good communication with a client is so important. I need to know what the puzzle looks like. Which ones are the corner pieces? Are we doing a 1000 piece puzzle or a 100 piece puzzle?

How to Quickly Send Photo Proofs to an Art Director not on set.

One Click Proofs

Well, you got the gig. You've spent the last day and a half setting up for the shoot. You have to shoot with talent for two hours. Everything is lined up. On set (besides talent) you have a producer, assistant, production assistant, prop stylist, and an art director. There is only one problem... you're in Nashville, TN and the creative director, account executive and/or client is a thousand miles away and wants proofs.

Here is a quick set up to send proofs using Dropbox and CaptureOne. It will take about two minutes to set up and once up and running only requires one key command (For Mac “Command+D”).

Open the Dropbox App on your computer

If you click on the Dropbox icon you will see your most recent activity. Click on the folder icon a the top right and it will open all your individual folders. Create a new folder (Right click or “Shift+Command+N”). You can name that folder whatever you would like. I named mine “Proofs for shoot.” Right click (or Control click) the Proofs folder and on the dropdown menu click “Share.” On the pop-up screen add any email addresses you would like. Press “Share” at the bottom and whoever you sent the link to will have access to that folder. (I always like to add myself so I can check the link.)

Open CaptueOne and got to Process

In CapturOne you will go to the Proccess screen (looks like a gear). Add a new processing recipe and name it. Mine is “Dropbox Proofs”. (Make sure you un-click any other recipes.) Go to “Process Recipe” area to make the recipe. I use Jpeg, Quality 60, 150-200 px/in, Scale>Long edge 5 in. You can make it bigger or smaller depending on what your client needs.

If you want to add a watermark there is a Watermark tab under “Process Recipe” (upper right).

Set Output Location

While still in the Process section under “Output Location” go to the “Destination” drop down menu and “Choose Location.” Dropbox should be at the top left. Click through until you find the “Proofs for shoot” folder and then Set as Output Folder.

Press “Command+D”

You're done! Anytime you press “Command+D” it will process the image you are on and it will land in the shared Dropbox folder.

If you are not into keycommands you can add the Process button to the top of CaptureOne's toolbar by going to View> Customize Toolbar. Drag the process (gear) icon to the toolbar. Whenever you press this button it will also process directly to Dropbox.

Always double check! Process out a photo. Go to the link you emailed yourself and make sure the image landed where it should. Also, make sure there are no images from other clients you don't want to share in the wrong place.

A Beer bottle that Shines in the Sun

Silent Super F2

After I watched the documentary “California Typewriter” I went out and found an old 1950's Smith Corona Silent Super. At almost 70 years old it still works perfectly. I like mechanical things in general and the only other thing I own and revere as much as my typewriter is my 1970's Nikon F2 film camera.

I used them both! I shoot black and white film that I process at home. Also, if by chance you ever get a postcard from me... that's right... it was typed on an actual typewriter.

Star of the Show

For my shot of Innis & Gunn Original beer the idea didn't start with a mood board or the beer itself. It started with the desire to use a typewriter and my camera as props. Slowly the idea of a traveling photographer and writer drinking a beer at the end of a beautiful day formed in my head.

I decided to switch my typewriter out for a 1930's Underwood Universal. (Also, in great working order.) I felt the Underwood fit the scene and matched the black and chrome of my Nikon F2 better than the Smith Corona tan and green office classic.

I did the walk through video above to show off the set styling as well as the lighting.

Nine Images to Make One

The final images is made up of nine individual images with different elements composited together in Photoshop. After the various pieces are stitched together I go through my normal retouching routine: cleaning, color correction and toning the image

Photographing a Shinny Bottle

On-White Bottle

In this video I walking through my set up for on on-white bottle shot . On-white or ecommerce images can be as complex or as simple as you want them. The question is, does the lighting and final image fit the clients brand.

The bottle I'm photographing is from The Mane Choice, a hair care company that I have had the privilege to photograph for several years. Their bottles and bottle labels are extremely shinny so extra attention needs to be shown to avoid unwanted reflections.

No Reflections

I accomplish this by using diffusion panels on all sides, polarizing filters, and shooting the bottle from a low angle. I put the camera through a hole in the front diffusion panel and I place the camera just below the bottom edge of the label. This does two things: it avoids the bottle reflecting the panel hole and it also gives the bottle a heroic look by looking up to the bottle. (Alternatively, I can place the camera just above the top edge of the label to avoid the unwanted reflection but I think this brand looks better from such an epic perspective.)

The End Result

When I am done I have two images. The main image and a second image I use to make a mask for the text on the label. I don't need the second image but it makes it a lot easier during the retouching process.

Retouching

I made a second video of this bottle going through my step for retouching.

Week 21

I have been looking at a lot of photographs of cars as well as behind-the-scenes photos and videos. Although my car is fairly new I don't have the space and the light modifiers to shoot such a large object. So to play around with lighting a car I bought a cheap 1963 Corvette remote control car.

I started with putting a diffusion panel directly over top of the car. I played around with moving the light until I liked the coverage area and the gradients. I like the shots with the light source closer to the diffusion panel so that the light didn't just end in a sharp line but instead created a smooth gradient along the top ridges of the car.

Next I added a light on the right side to fill in the shadows along a majority of the side. I then took several shots using white cards to fill in various areas of the front, wheels, underside of the car and windshield.

In Photoshop I composited together the various highlights and then fixed the gradient on the windshield. The last thing I did just for fun was put the car in an outdoor setting using a photo I found online. I don't advocate grabbing random pictures online and really wasn't even planning on posting t on the blog but I thought the final result was fun and worth sharing.

As always I see room for improvement. I don't like the way the underside drops off as it moves toward the back tire. At the time I though is was a neat gradient but in the final I think it looks unnatural and strange.

Week 20

I like the idea of taking a product and putting it in a natural looking setting. This week I wanted to try to photograph a watch with a loose theme of it being lost on the forest floor as the sun is rising behind it. I love the look of moss and the little ecosystems that exist around and in little patches that grow around my yard. Maybe its from my time as a kid playing and building G.I. Joe forts in the dirt and grass.

This “set” was one shovel of ground from my back yard. It only took a moment to collect, but I spent quite a bit of time preening it and picking out little dead twigs and brown pieces of grass with tweezers.

The lighting setup was pretty straight forward. I used four lights: one with a CTO gel behind the watch to act as golden sun light and the other three to light little areas of the watch face and wrist band. I used a half dome of diffusion plastic around the watch which was open at the back to let the direct light from the background light through.

I started by taking a shot that showed more ground with the hope that it would better tell the story I was going for. In the end I moved whole setup to get a lower angle looking up at the watch and a much tighter composition.

I like the end result, but I think it is a theme I will continue to work on in the future and develop a little further.

Week 19

For weeks project took place while I was on vacation. I was in New Jersey attending a wedding with my fiance. I brought along my camera, 24 mm lens, mini clamp/tripod, flash remotes and one flash. I had a little time and decided to make this weeks project photograph of the hotel room I was staying in for a few nights.

We were on the 9th floor of the hotel overlooking more hotels and an industrial complex. So, I composed the shot looking out the window and up at the clouds to avoid the other buildings. I really liked the red chair in the room and decided to make it my main subject. I showed a little piece of the bed to give the photo a little since of place.

The final images is a composite of six images. If I had had more lights I could have made the shot in one or two frames, but because of my equipment limitations it took several extra shots to fill the shadows of the room.

I like the overall look of the final image and I learned a lot by having such restrictions and having to pre-visualize the final result.

Photo project Week 18

This weeks project was going to be a profile shot of a Seiko watch. This was one of the few times while shooting that I felt like I was limited by the equipment I have. I wanted a very contrast heavy photo but with good gradients. For a lot of my photographs I use a 50mm lens. If I want to do a macro shot I will use an extension tube to allow me to photograph very close to the subject. When I use the extension tube I run in to two problems that are closely related.

Since the lens I use is short I have to have the camera very close to the subject. Most of the time I can work around this, but bI have to use a smaller diffusion cone. The smaller cone does not allow the light to fall off as quickly as I wanted for this photograph. Also, the light will bounce around the smaller cone and fill in the shadows more than I intend. I can usually overcome this by using smaller lighting modifier(s). Instead of using strip boxes I use barn doors and instead of using 7 inch reflectors I use snoots.

I have three main options. One, I can fix the shadows in Photoshop. Second, I can buy even smaller lighting modifiers such as lens spot attachments or fiber optic spot lights. Third, I can buy a 100 mm macro lens.

In the end I did a light test and I spent a bit of time experimenting with the lights and light modifiers. I used both a cone and diffusion panels to see how I could manipulate the look of the photo with what I had on hand. 

Diffusion panels