self portrait

Hipstamatic – whats old is new again.

One of my best friends, an amazing photographer named Matt “ArtBiker” Linton renewed my passion for using non-contemporary photographic techniques.  He is a master of the now dead but possibly being revived by Lady Gaga Polaroid SX-70.  We are all familiar with the photos from those square format, muted color, shallow depth of field 1970′s style instant film cameras. Shooting side by side with Matt at a variety of events though the years has made me realize that some of these older techniques lend more mystery and romance to an image than is possible with the latest and greatest technology. So I dusted off my own SX-70, Holga, Lomo, and even made a pinhole for my DSLR. All of those are fun, but again, not convenient to bring with you. That’s why now I just reach for my IPhone and Hipstamatic.

Chrysler Building NYC

The Hipstamatic app allows you to use a variety of “lenses” and “film” which replicate the look and feel of some old favorite films and cameras. The basic app costs $3 with additional films and lenses costing $1 each. That’s a small price to pay for the in-your-pocket availability of these “cameras”.

Rosebud

I don’t tend to print out many of my photos unless I am doing a gallery show or it’s going into a publication so it didn’t occur to me right off the bat that I might want to print these out.  Of course I found an image I just had to print and only then did I realize that the iPhone preset for Hipstamatic is a tiny 525px image.  So here’s a Pro Tip: go into settings, and turn on “High QualityPrints”.  I also adjusted the viewfinder mode to “Precision Framing” so you know what your getting; it takes a bit of the fun out but for me the trade off is worth it.

Flowie

Faneuil Hall Boston MA

Haymarket Boston

If I had to categorize myself I’d say I was a studio photographer. I love being in control of my light. I’ve photographed for catalogs, men’s magazines, books, and thousands of products and light is what makes every photo.

That being said I don’t feel that the photo-journalistic style is where I’m at but sometimes you need to be the “man on the street”. One thing I’ve learned from Jay Maisel) and that you should know is that to take good photos in a crowd is not about your equipment but about you stealth.

PRO TIP: Know your lighting and use a camera and lens that doesn’t intimidate your potential subjects.

'Spinal Tap' in Salem

Okay so here is the deal. In Salem MA on Halloween hundreds of thousands of people show up to get their freak on. The photo possibilities are infinite. I hung out with a few friends and took some pics. Mostly I moved along with the ebb and flow of the crowd but occasionally I found some good light and waited for a photo to come along.

The above photo was taken with a D700 and an SB600 flash set to -1 stop. the back light, which really makes the photo, was courtesy of Salem MA DPW, as they had set up light banks on mobile generators around the city.

Thanks Salem MA, and happy Halloween.

This past weekend my friend Natan invited me down to the Boston Tattoo Convention to hang out and take some photos.  Everyone can take a photo of someones tattoo while they are standing there on stage, that’s not challenging and in my opinion that’s not art it’s merely acting as a photo copier. The real fun in taking photos at a tattoo convention is in telling the story of the moment.

Boston Tattoo Convention 2009

Tips to taking photos at a tattoo convention

1. Available light at tattoo conventions sucks so bring your own or learn to work with what you are given.  And remember the artist is working so if you are going to use flash ASK FIRST.

Ink in the dark

A little fill flash (-2 stops) brought this scene back from being far too dark.  I could have used a bit more but I wanted  to keep the depth, moodiness and available light feel.

Enjoying the ink

2. Take the time to talk to your subject and build a rapport

JaySki at work

3. Work the angles.  The above photo is a great example of angling your photo to take advantage of  what is going on in the foreground, middle and background of the scene.

4. It’s about the people. In addition to vending some of his wares Scott was shooting some video and I took this photo of him enjoying the show.

Working hard?

5. Sometimes even an artists down time tells a story.

Michah

5. Try and capture interesting moments in the tattoo process.  I came across Jae Audette, freehand drawing a traditional American tattoo outline on a client with a sharpie.

freehand traditional

6. Even when shooting wide open and with a high ISO blur can still happen due to the bad lighting in most convention locations.  Know movement will happen and use it to your advantage, by showing the artist plying his trade.

Natan tattooing

7. Space at a tattoo convention is always limited so you will tend to see the same photo time and time again.  Stations are laid out so an artist can best work on someone and not for optimal photo taking.  If you see a setting that works good for a photo keep an eye on it and like waiting for the right light when shooting a landscape, sooner or later it will pay off for you.

some detail work

More photos from the 8th annual Boston Tattoo Convention can be found on my flickr page.

The camera evolved from a device called the Camera Obscura, basically a room with a pinhole in it that allowed light in and projected it on the opposite wall thereby allowing an artist to trace or paint what he saw. The image that is projected is upside down but color and perspective is maintained.  This lead to a new era of realism in painting and eventually some new newfangled device called a camera. </historylesson>

What is a pinhole camera?

As the name suggests a pinhole camera is a camera (light tight box) with a pinhole for a lens. This is as simple as it gets. It is basically a miniaturized version of the camera obscura. At its most raw form there are no mechanical shutters, apertures, dials, knobs or settings of any kind.

Pinhole Cameras – a how to

I made my first pinhole camera to hold an 11×14 piece of photographic paper. I used a cardboard box that restaurants would get from soda companies that holds the bags of syrup to make a fountain drink, it was the perfect size to hold my large piece of paper. Then I cut a small hole on the opposite side of where the paper lives and covered that hole with a square piece of aluminum cut from a soda can. I poked a hole through the metal and my camera was made.

Paper was loaded into the box in the darkroom then the box was taped up to block out any stray light. I placed my finger over the pinhole and went outside.  My ISO was that of my paper and I guessed my aperture to be around f250, did the math let in light for 30 seconds and developed my film.

Pinhole cameras without film, DSLR Pinhole

I no-longer have a darkroom at my disposal but that didn’t stop me from building a new pinhole camera.  This one costs slightly more than my old pinhole but is just as easy to make.

• Start with a DSLR
• drill a small pinhole in a body cap or  cover the lens hole with a piece of aluminum foil and put a pin hole in that, I used a beer can (PBR) but any soda can would work as well
• set your camera to manual and assume your aperture is very small (f200 -f300) and take a test shot
• refine your exposure from there
• You can take your pinhole DSLR to the next level if you want by adding a macro extension or tele converter to the mix.

My first attempt using a pinhole DSLR was less than stellar. I just slapped the aluminum foil over my camera  held it in place with a rubber-band and poked the hole with a toothpick. Its not pretty but that’s not the point, this was just a test.

down an dirty pinhole DSLR

I ran out and shot the below image at 1/4 a second with the camera set to ISO 100. My initial thoughts are that the pinhole is WAY too big and that there is too much camera shake.

DSLR Pinhole photography

With the initial test a success it was now time to refine my camera.  I grabbed a body cover (Nikon BF-1a)  I had kicking around and drilled a hole through the middle of it.  I then cut a square out of a beer can and fitted it on the body cap, taping it all around.  With a fairly small needle I made a hole giving me an effective f-stop of f/180.

Drilling the body cap

cutting a PBR for the lens

Making a pinhole camera

I went back out and did test #2 using the body cap/beer can method.  At first the results didn’t impress me  as there still was still significant blur even using a tripod.  However upon closer inspection one can see that the image is much sharper by looking at the middle window where “Town Hall” sign is.  That aberration is merely camera shake.

Second pinhole test

For test #3, my final test,  I wanted a bit more depth of field so I remade the pinhole with the smallest needle I could find.  I also used a setting on my Nikon D300 that allows the mirror to lock up for 3 seconds prior to the shutter firing, thereby reducing camera shake even further.  Now when you look at the words “Town Hall” you can see them much more clearly.

Test #3

I did notice a few “dead” spots on the image when using this lens but I’m chalking that up to the hole not being perfectly circular. I’m not going to bore you with the other 20 test shots I took but this PBR pinhole works just like any other pinhole camera. I tested it out with on-camera flash, studio strobes and even shot some HDR (with the PRB DSLR). I’m looking forward to keeping this in my camera bag and using it when my regular lenses just aren’t seeing things they way I want.

This year with hurricane Bill off the coast there were high hopes for good surf.  My plan was to shoot some surfing action shots.  Unfortunately when we got to the beach the waves were less than impressive chop and the water was angry.  After a few failed attempts Mother Nature decided to rain on our parade (much like she did for my 4 hour motorcycle ride down to the outer cape).

Bummed out over the circumstances I reluctantly snapped a few shots (maybe 10 total) before riding back to the house, pouring a dark & stormy and sitting by the fire.

Ando

Checking out the Surf

Another photographer who I feel is over praised for her photographic talent is Annie Leibovitz. It is widely believed that the reason behind Leibovitz’s success is her ability to “form an emotional bond with the subject”, I say that’s crap. If that were the case you would see her shooting silo’s of her subject which allows you to see their true self, something akin to what Albert Watson can do.

Tupac by Albert Watson

Even the photograph that made famous Leibovitz doesn’t show a one to one connection between subject and photographer, it captures a destructive obsession love shared between the subjects.  It would have been interesting to see if we ever knew her name if John Lennon was not murdered shortly after his portrait session with  Leibovitz.

John and Yoko by Annie Leibovitz

So why is it that we have all heard of Annie Leibovitz and she has enjoyed such success? I’m sure that part of it is due to her antics of being a bitch to the Queen of England or the media storm surrounding the so-called scandalous photos of Miley Cyrus but mostly its because her photographs are memorable due to the lavishness of them.

Take for instance these two well known Leibovitz photographs of Sting and Demi More.

Sting by Leibovitz

Demi Moore by Leibovitz

Are these two photographs interesting and visually appealing? Sure. Do they show any sort of outstanding connection with the viewer or insight to the subjects personality. No.

What do Annie Leibovitz’s photographs show us?

These images are prime examples of how having an idea and an unlimited budget can create a photograph that stands out.  Whether she is showering someone with thousands of rose petals or renting Versailles Leibovitz stops at nothing to hire the talent (in the above Demi Moore photo hiring an exceptional airbrush artist), style the set or travel to exotic locations to make her shoot happen. Does that make her a good photographer?  9 tourists out of 10 can take a post card worthy photograph of Versailles assuming they show up on a nice day.

It seems that Leibovitz has become a victim of her own illusion of grandeur. In her effort to make her life imitate her art she has found herself financially bankrupt.  News over the wire states:

Yet behind a facade of unlimited financial means, Leibovitz was spending her way into nightmare.

In what now appears as a disastrous decision to raise funds, Leibovitz took a 24-million-dollar loan from Art Capital Group (ACG) — in effect a high-end pawn broker — in December 2008 using her own photographs as collateral.

That debt is due September 8 and if she can’t pay up, she could lose her life’s work.

ACG, which specializes in making loans to owners of high value art works, is unlikely to adopt a soft line.

Leibovitz must “comply with the sales agreement she signed authorizing Art Capital to sell the fine art and real estate assets and to pay the invoices that are due,” ACG spokesman Montieth Illingworth said in a statement.

The over-leveraged photographer not only risks losing her photo archives, which The New York Times estimates could be worth 50 million dollars, but also her house in the trendy Greenwich Village district of Manhattan and a second home outside the city.

If she is forced to declare bankruptcy, it will then be up to the courts to decide how to distribute the assets.

As happens with so many artists (and con men) she bought into her own hype and it destroyed her. Sure some rich benefactor might swoop in and save the day but that isn’t the point here. On the one hand I appreciate spending all your fortune on your art. Sometimes I wish I could sell everything I own except my bike and my cameras and travel the world taking photographs. What true artist doesn’t have similar feelings? I have plenty of photo shoot ideas I could easily drop $100k on and it might just land me a few book deals or staff spots on some prestigious magazines, but I have a family and people who depend on me, so I refuse to be financially bankrupt to be creatively prosperous.

Does that mean I am not truly an artist at heart?

Laconia Bike Week Pins 2009

Riding in the rain Laconia

I usually don’t spend all nine days up in Laconia as it is a quick trip from my home.  Typically I spend both weekends up there and maybe do a day trip. Every few years when there is something major going on or if I am booked to shoot a bunch of assignments I’ll spend the whole week.  I have found that since the Lake Winnipesaukee area is like a second home to me I tend to get a bit lazy snobby about shooting.

Harleys at Lake Winnipesaukee

It’s always fun to walk around the drive-in area where all the vendors are set up and stroll the Weirs Beach strip where bikes are jammed from end to end. Everyone at bike week brings a camera to capture the sights. Back in the day this strip was a non-stop parade of scantily clad biker babes happily showing off their goods. These days the only thing that is flashing is chrome in the sun. Onlookers are snapping photos of paint jobs, tattoos and interesting bikes.

Biker with American flag

Weirs Beach Tattoo

Sure, there is still a feeling of being on the edge and an attempt at being naughty but the fact is as more people take up motorcycling as a hobby the biker lifestyle of old is being legislated out of existence.

It aint gonna LICK itself

Even inside the bars at night most patrons are on their best behavior.

Girl showing off her Jack Daniels belt buckle

Regardless of the ebb and flow of acceptable behavior at bike week the real reason we go is for all the bikes.  I photograph all sorts of interesting motorcycles. I love taking pictures of ugly bikes and horrendous paint jobs just as much as the beautiful ones. Each bike is an expression of individuality and personal style.

Tron come to life - a Victory Vision

Scalloped tank and 1970s style seat

Road kill on BMW pannier

Indian Chief

Despite the changes in culture and the predictably bad weather, Laconia Bike Week is the premier motorcycle event in the North East. Over 100,000 people come to the Lakes Reigon of New Hampshire to ride the beautiful roads, check out the bikes and have a good time.  In my next post I’ll share with you some of what happens off of the strip during Laconia Motorcycle Week.

I made my way down to NYC where I met up with my friend Fred (@ethermix). From there we cut through NJ, PA, MD, WV into VA all during torrential rains. The rain gear I grabbed as I headed out the door ended up being my wife’s and was far to small for me. Fred was sporting some new black leather and mesh spring riding gloves. Apparently the leather wasn’t cured that well.

Freds hand dyed black

The sun finally came out in the mid afternoon as we arrived in Front Royal VA to hit the mountains at Skyline Drive. We headed south for 105 miles to where Skyline Drive ends and the Blue Ridge Parkway begins. The parkway is almost 500 miles of some of the most beautiful twisty mountain roads a motorcyclist could ever ask for. Our destination for the night was at mile 86 the Peaks of Otter Lodge.

The lodge has a decent restaurant and bar (which stop serving at 9pm) and the rooms are large, clean and all have great views of the lake and mountains.

Overnight the weather rolled back in and enveloped the mountains. We didn’t hit the road until 10am and even by 11am the visibility due to fog was only about 20 feet.

Forrest on the Blue Ridge Parkway

Our plan was to ride down to Ashville NC and shoot over to the Tail of the Dragon at Deals Gap however given the late start and slow riding we had to cut it short and make our way to Rockville NC to meet up with fellow motorcycle photographer and friend ArtBiker.

The following day was spent at the Rockingham Speedway, the site of the Smokeout, watching the races, talking to the builders and photographing bikes.

Captain America helmet on a Chop

Drag Bike

Gears in a swap box

Old skool custom bling

custom bobbers

Skull jockey shift

More photos from the 10th annual Smokeout will be posted to my flickr photostream shortly.

View Smokeout road trip in a larger map

This trip is similar to one I did a long time ago.  I was looking for some photos of that trip and realized I was still shooting film back then. It seems like a lifetime ago that film was a plausible media.  I used to shoot Kodak EVP with my Nikon F4.  I’d buy a brick of film and do a few test strips to dial in my optimal exposure.  Once I knew how that emulsion lot would fare I’d dial in my settings; usually shooting the iso 100 film at 80 and pushing 1/3 a stop in development for snappy contrast.  When I was on the road I’d either hold on to all my film until I returned then spend a few days running to the lab checking test strips now and then and running all my film in batches. If I had deadlines or was on the road for a long time I’d have to fed-ex my film back home and have an assistant run it.  I also remember a time when I had to have film overnighted to me because I ran out.

The other major detriment of shooting film at a professional level is  when the light changes your film needs to change.  So then you need to carry another speed of film to compensate for the different lighting condition. Sometimes I’d like to shoot Fuji Velvia outside (but never in the studio) and lets not forget those specialty films you’d keep in the bag for the rare black and white shots or cross processing maybe even some infrared.

That brings me to camera formats.  I’d always have a medium format camera and all the associated film for portraiture AND my 35mm.  Thankfully I never had a fetish for shotting the 4×5 or 8×10 outside the studio.

Skyline Drive

When looking for the above photo of Skyline Drive in VA I looked in a flip book of scanned film that I have. I don’t know why but only a few images from that ride was scanned, the rest are sitting in books of slidepages in a tub with thousands of other images that probably will never again see the light of day.

I’m looking forward to this ride on a variety of levels.  With the ease and quality of shooting digital there are no bags of film, multiple cameras, trips to the lab or waiting to see what you captured.  When the light changes, you adjust your white balance and iso and keep shooting.  I’ve done plenty of trips shooting digital. In fact the last time I shot any film was around 2003 when I made the shift to digital only. But this is the first time I am going to retrace my steps with digital equipment.

Back in the day, a portion of the art of being a professional photographer was mastering your film and being confident in what you shot before you see it (except for the polaroids you’d shoot prior to film).   It was easy to seperate a pro from an amaeture simply by looking at their photos. These days with high quality consumer digital cameras having such a low price point it’s difficult to take a bad picture. The availabilty of knowledge is abundant and the line between pro and amateure is blurring.  I’m interested to see how my next batch of photos compares to my old ones and to other shooters who have captured the beauty of Skyline Drive and the Blue Ridge Parkway.

Before I hit the road I do plenty of planning. This year much of my planning for the flurry of road trips is working out all of my technology needs.   In the past I would ride and shoot all day.  When I stopped for lunch or for the night I would download all my photos and maybe push a few up to my website. Two years ago I started using a tracking program so people could see where I was riding in real time.  Results were spotty at best.

Midpoint Cafe Route 66 Texas

This year one of my goals is to be more proactive about blogging and getting more real time info from the road onto social networking sites as-well-as this site. Recently this site was overhauled making it easier to integrate some of the tech related stuff I have been working on.  I’ve been able to take the GSP data that I collect for my live map display and merge it with my photos allowing me to geo tag my images.  I’m also a fairly avid user of twitter and look forward to tweeting from the road shortly.