Joe and Yervant covered a lot of ground about marketing, presentation, shooting, Photoshop and passion. Passion was the underlying message of the whole day.
We did a live shoot with a model bride and groom and took the files back for processing. It was really, really cool to both see and hear the two completely different approaches from these very accomplished photographers in regards to just about everything.
Also in the house was Bay Area-based photographer and Brit ex-pat Peter Atherton. He demonstrated Yervant’s Page Gallery software for page layouts and displayed some of his work. Phenomenal.
Yervant in the scrum
Joe Buissink capturing real moments
Joe, Yervant and Bambi Cantrell shooting the shooters
I originally found this over on Strobist and wanted to share it here too.
Who is Robert Rodriguez? Oh, just the guy that made the film “El Mariachi” for $7,000 before eventually going on to gross $2,000,000, become a cult classic and favorite of mine. He’s since gone on to make “Once Upon a Time in Mexico” and “Sin City” among other things, but I’m inspired by his sensible, cheap and low-tech way of producing his first film all by his lonesome.
I’ve edited a few short movies on iTunes before and still have a difficult time telling a concise story even with tons of stills and a fair amount of video. It’s amazing to me how the vision and confidence of Rodriguez coalesce into a low-budget film that is unique, tells a great story and has very high production value.
David Hobby at Strobist has been harping on The Big Orange store as the photographer’s greatest resource for a long time, but it’s never rung more true than here… Check out more from Robert Rodriguez as he shares the methods used in the lighting of “El Mariachi”.
This weekend I was tasked with shooting a symphony orchestra for a recording session in Seattle’s Studio X. My clients were the people hiring the players, so I didn’t have carte blanche with how I wanted to execute a lighting scheme or capturing performances. In fact, I couldn’t even take a shot while the musicians were performing since shutter clicks and strobes popping would make it into all of those fantastic old Neumann microphones. So instead I would grab what I could during the lulls between recording passes.
The lighting scheme consisted of Nikon SB shoe-mounted strobes at each end of the room with full CTO gels to bounce off of the large, white walls and one mounted near the ceiling behind the conductor with a Justin Clamp and a 1/2 CTO gel for a different zone of color. The CTO business is all moot since these ultimately wound up black and white, but I was balancing my strobes with the available tungsten light. To read more about the concept of gelling your lights to balance color, head on over to Strobist and read this article.
The other shots were taken with available light in the control room using a 50mm f/1.4. I love shallow depth of field when making these types of shots.
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