The Breakdown

The shot below gives us a pretty good look at one of the lighting setups used in the shoot. It appears that they were using flags to block what looks to be window light from the right of the model. In front of that is a large octabox (octagon shaped soft box) pointed down and in front of the model with a reflector pointed up towards the model to create a sort of clamshell light. It also looks like there may be another light to the left of the model but it is cut off in this shot so I can’t say for sure what it is.

The light setup above was used to great this finished photo that was used in the final magazine spread.

I like the look that the light helped to create. Good stuff. If you would like to checkout some more shots from this shoot you can always go grab a copy of Vogue Australia or take a look at them below.

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Harry Fisch. – Bath in the Ganges at night

Taken on occasion of a Nomad PhotoXpedition Workshop in  Varanasi, at 5 a.m., this photograph manages to reflect the magical moment of bathing on the banks of the Ganges. Being obsessed with definition and light might have spoiled such an extraordinary shot. Beyond aesthetics and composition, common to every photographic activity, technique plays an important role in this kind of pictures.

Rule # 1: There Are No Rules

Creativity rules, actually. There are photographers such as Antoine D’Agata who turn blurry photographs into a form of expression, almost the author’s signature. Others like Mc Curry use it only in specific situations to signal movement. The appropriate speed doesn’t actually exist, unless you can repeat exactly the same conditions

Rule # 2: Blurring Is a Creative Argument

Motion for the mere reason of motion is, just the same as a circus act, a useless effect. A blur in photography makes sense when it fulfills a function in the message the photographer wants to convey and within the language itself.

Rule # 3: Think About What You Want to Express

Sometimes a happy accident may achieve good results. The truth is that you have a much better chance if you think about what you’re doing before doing it. A “blur” is a creative resource that should be reasonably controlled and always planned. Do you want to reflect speed? Mystery? Movement? Each result requires different planning. See it in your mind before planning the photo.

 Rule # 4: In Photography, Continuous Movement Means Chaos.

 Harry Fisch. – Faithful walking around the Bodhnath Stupa

Not everything should be blurred. Photography is an art made up of contrasts: light/darkness, crispness/fuzziness, nearness/farness. The best result in a “blurry” or poorly defined photo is usually obtained when only part of the picture is undefined. The clearer the stable part the higher the contrast and it is precisely this difference, this contrast, which causes the feeling of movement in the observer.

Rule # 5:   Make Mistakes!

Take several test shots with different speeds, being aware that you are only preparing for the future and final photo. Observe the results and take particular care of exposure. We have already said that a blurred picture requires planning. So … take your time! Digital photography allows you to use trial and error much more due to being able to view the photo immediately. Get into the best situation according to your image design and set the camera controls according to what you intend to do. Calmly.

Rule # 6: Choose the Best Speed

And which exactly is it? It depends. The motion of a racing cyclist is not the same as that of somebody strolling about in a gallery or the faithful bathing in Varanasi. Furthermore, the degree of motion that you want to reflect is a defining factor. In the case of the photograph of the bathers in Varanasi, I only intended to create an aura of mystery. An almost imperceptible movement, something like what is seen in dreams. But with the Bodhnath pilgrims, I wanted to convey the dynamism of the people around the stupa.

For still photos, when subjects are sitting or standing -almost motionless- exposure can be as slow as 1/4 second. If, in addition, the subjects remain still, it may happen that despite the slow exposure, motion is almost imperceptible. On the street, with people walking, it can be 1/8 second or 1/15. If you want to produce a mass denoting movement, for example, people strolling about at an exhibition, you sometimes have to use open exposures, allowing people to “tarnish” the image with their motion, making a contrast with what stays static.

Rule # 7:  Luck Needs a Bit of Help

If there is something that needs luck, it’s photographing motion…When you are looking for the aesthetics of the unpredictable, of motion or of blurriness, you should contribute something on your part to get luck to help you. I usually put myself in place at the chosen site, shooting photo after photo at different speeds. Sometimes I look at my watch and I notice that I’ve spent 30 minutes at the same place, with one eye on the camera and the other one on my surroundings, waiting for luck to come by, with patience and dedication.

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Photo by Steve Perry

We don’t get in the habit of posting photo contests, but I felt that this one was unique in that it’s done by a government body and that the prize money is so high.

The contest began on May 10th and continues until December 31st, 2013.  The images must be taken on national land property, such as a National Park or Forest land, and you can submit up to two images each week.  The contest particularly appeals to Landscape and Wildlife enthusiasts.

The Grand Prize is $15,000 and a stack of goodies (are they seriously including air fresheners in the goodie bag?  Yes.)

Second place prize is $5,000, and Third place prize is $2,500; both come with their own goodie bags.

Photo by Kevin Perez

Be sure to read the fine print.  Photos must be no more than minimally edited (as is fairly standard), cannot have been submitted in another contest, and must have been taken on lands managed by one of the ‘Recreation Agencies’ – National Park, Forest, Wilderness, and Fish and Wildlife Services.

Happy hunting!

Photo by Travis Roe

Photo by Tom Morris

View the press release.

Visit the Department of Interior’s “Share the Experience” website.

And just for inspiration you can visit the official Interior’s Instagram.

Images are Copyright of their respective owners and were acquired with permission from the Department of Interior.

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Douglas is known for photographing particular locations and events–this includes venturing as far back as B.C. events such as the Gastown riot of 1971 and a 1996 landslide at McBride Bay.Douglas uses photography, film, storytelling and public spectacle in his profession and often explores issues such as race and poverty.

Edward Burtynsky, chair of the jury and co-founder of the award said:

“Stan Douglas has helped define and enrich the Canadian art and photography landscape with his outstanding artwork.”

“He has pushed the limits of contemporary photography and will continue to have an incredible impact on the world of photography both here in Canada and abroad.”

Upon accepting his award at Toronto’s Ryerson Image Centre, Douglas said:

“As long as we think about what photography can be beyond convention– in a world like this we (photographers) will be well-needed and well regarded.”

As well as taking home a $50, 000 cash prize, Douglas will have a selection of his work published internationally by Steidl and have a solo exhibition at the 2014 CONTACT Photography Festival in Toronto.

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Driven by the desire to offer an easy and affordable photo book option for professionals to use for their own art and family photos, Artisan State announced the development of their Little Black Book earlier this month. Still in prototype phase, this little 5×7 inch book is filled with 20 pages of brilliant Silver Halide prints, lays completely flat and is flush mounted. Best of all, this hand made album costs just a little over $10!

Artisan State sent me a sample of their prototypes. The book will be available in a thin or thick page option and I like them both. I can see all kinds of possibilities for this little book. I would certainly use them as intended, for my own family photos. They would also make great proof books or mini albums for portrait sessions, parent and grandparent gifts, not to mention a mini portfolio of your best work to carry around with you in your bag and show off to potential clients.

The Little Black Book should be available for ordering by the end of May or beginning of June. I can’t wait to try it out and let you know what I think. How would you use the Little Black Book?

CREDITS : Photographs courtesy of Artisan State and have been used with permission for SLR Lounge. Do not copy, modify or re-post this article or images without express permission from SLR Lounge and the artist.

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