We had a great opportunity to work with the folks from GA Communications on a project for BioMarin this past fall photographing a series of patients. We spent three days on location around the Bay Area making images that had to have a strong sense of flared backlight. While we couldn’t shoot all of the images late in the day, we made use of both ideally placed sunlight and a strobe set far off in the distance. For the swing shot I made a swing from an old piece of redwood and some nice looking hemp rope. Using high rollers for a large silk above, we slid medium rollers underneath with a speed rail tube across so that we could place the swing wherever we wanted. I knew we weren’t going to find a perfectly placed low hung tree branch : >
Yes, I got into the pool. I had to. With the tether cord held by an assistant and connected to a computer on dry land, I shot with a long lens handheld. Most of the project was photographed using Canon’s new 5dsr 50 megapixel camera and a ProPhoto B1 in the trees. And, lots of large silks.
We had a great shoot last week working with Ritual San Francisco (@ritualsanfrancisco) doing some yoga images on the street. Here’s a preview of the first two to make it out of retouching. Let us know your favorite in the comments.
I was interviewed last week about my work by Barcelona based, Production Paradise. Check it out here:
I love having the opportunity to shoot editorially, especially portraiture. With only 25 minutes with our subject, I wanted everything in place, scouted and roughly scripted. We aimed for 5 set ups with no specific art direction, which I love, because it means I get to play.
When asked at workshops, I always describe my approach to editorial portraiture as a visual conversation. Throughout each shot, each set up, my goal is to never stop the conversation with the subject – I want them to feel like they are going for a walk, a conversation, and once in a while we stop and make images. Walking from one location to the next, I have everything pre-arranged; my assistant and I know exactly how we will shoot each image, so we can follow the plan like a rehearsed play. But, it always changes – either the light will change, or the conversation with the subject will turn my attention to something different in one of our sets.
This week, the change was this great food truck. It was on the way from one shot to the next, I could see immediately that the light was great, and I could tell he was game. We went for it. I love the relaxed fresh feel of the resulting shot. Only problem with the shoot was that the line grew at the food truck just as we finished the shot, so no lunch. We Instagram‘d one of these earlier this week but here are some more.
Early this week we brought back a hip hop dancer that we have photographed in the past. Staying in the outdoor studio and keeping the huge silks for our lighting, we moved around to get a more natural blue sky background. A little less studio feel, a little more natural – while still using beautiful big light sources.
Bob and I got to talking yesterday about this work – why dancers, why flying? It seems like he is drawn to this as a more pure form of the motion portraits he sees us doing in our fitness work. The dance images are still about photographing people, still a portrait, and the motion is still fitness. But working with these dancers, the project feels more like a study of form and movement.
This Oakland based dance teacher is great to work with and we hope to collaborate with her more. Using the blue sky felt more authentic and true to her as a performer. Here are a few from the shoot. We will keep putting these on Instagram and Twitter, so please check our feeds.
Enjoy. – Kala
This week we completed the framing of the latest Facing Chemo exhibit – Before & After. The show hung this past Wednesday at a corporate event at Genentech. We are looking forward to seeing the show hang again soon.
I recently did a dance shoot on the farm where we used the new IQ250 from Phase One. The new CMOS sensor made this possible as we were shooting outdoors using available light through numerous silks. We had the ASA up to 800 and 1600 for the shoot, firing off between 1/2500 and 1/3200 of a second around f5.6. The files were great, though focus was a challenge given our subject matter. Some behind the scenes shots with the camera.
Still diving into more of the files, but here’s a preview.