Millions of tiny dramas are happening every day in New York City. Turn your lens in any direction, focus on even the smallest fragment, and you’re bound to capture them.
Shot with Canon 5D MkII with Hartblei 65mm f3.5 Super-Rotator. You can view it in HD on Youtube.
Music: Life with Lights by Ballerina Black – from www.musicalley.com
As you might have guessed from my recent posts, Laura Hollick and I were in NYC last week. We decided to take advantage of this situation to shoot some photos and video in that most iconic of Manhattan locations, Times Square. As a photographer, the challenge was going to be to be able to capture the energy and bright lights of Times Square, while at the same time featuring Laura in a way that made her stand out.
We brought in hair and makeup artist Tim Wilkins to help prepare Laura for the shoot. He did a great job creating a subtle, shimmering and almost elfish look to integrate her silver wig and silver leaf dress.
Once Tim was done with the hair and makeup, Laura and I hopped in cab and headed midtown and into the madness. Anyone who’s been there knows that it’s a total zoo at all hours of day and night. We quickly scouted the area and staked out some sidewalk for our shoot.
I wanted to show the very famous billboards and neon in the background, but allow a close crop that would put the focus on Laura. Shooting from a low angle allowed this to happen. I chose a low shutter speed (1/30) to slightly blur the action around her, and a wide angle lens (24mm) to create some slightly supernatural drama. The wide aperture of f/2.8 created the shallow-ish depth of field effect to separate her from the background as much as possible, but because the lens is wide, the background is still distinguishable. As you might know, the wider your lens, the harder it is to get really shallow depth of field. That was fine though, since I wanted to keep Times Square recognizable as our setting.
The general lighting of the scene was amply provided by the bright billboards all around, and I set them to be slightly over-exposed. I didn’t want the contents of the signs to be too distracting. Over-exposing them slightly allowed them to appear mostly white, with some minor details in them that weren’t terribly distinguishable. All of this meant that Laura was in silhouette, so I added a fill light to make her pop. I set up my trusty little Vivitar 283 flash up high on a light stand and put a diffusing lens in front of it to soften it a bit. With such bright backlighting and no modeling light to preview the foreground, it was like shooting in the dark. I could only see her dark form against the bright background in the viewfinder. I trusted my camera’s autofocus to keep Laura in focus, and just posed her based on her silhouetted shape.
We shot for about half an hour. I didn’t think that our little photo shoot would create even the tiniest stir amidst all of the madness of Times Square, but I was wrong. We amassed a pretty-good sized audience, who mostly stood behind me. Often, people wanted to pose with photos with Laura and ask us questions.
It was a little distracting, but also fun to think that we added something to the experience of a few New York City visitors. When we finished shooting, I was surprised by a loud round of applause that broke out behind us! It was quite a night. Here’s the final image we selected from the shoot.
Here’s another image I shot after I was sure we’d gotten what we’d intended to shoot. I experimented by putting on a super-wide lens (12mm) and moved the camera during the long exposure. I still used the flash to sort of freeze a portion of the action. I like the vibrant, semi-abstract feel of this one.
We also shot some video to promote Laura’s Soul Art® Certification program.
If you’re interested, read more about the Soul Art® Certification program.
Undoubtedly, one of Brooklyn’s most iconic locations is Coney Island. I had a day to kill earlier this week, so I decided to visit the park and boardwalk to take some pictures. I took the D train from Manhattan and just enjoyed the ride to the end of the line at Brooklyn’s southern tip. It was my intention to capture Coney Island’s very familiar scenes of classic Americana in an unusual way. I mean, almost everyone’s seen pictures of the Cyclone and Wonder Wheel, even if they might not have known exactly what they were looking at, so I brought along a super-wide lens and my bendy tilt-shift 65mm f/3.5 Hartblei Super-Rotator to try to put a slightly different spin on things. The skies were clear and the air was a sweltering 35 degrees Celsius (95 degrees F), which made roasting on the pavement waiting for the exact moment to shoot an exercise in sweat tolerance. However, it was a lot of fun finding ways to throw the focus across different planes with the Super-Rotator, and to identify novel abstract angles with the super-wide lens. The direct sunlight created some lovely hard contrasts and bright colors. I think the unique bokeh effects created by the tilt-shift help to communicate the almost comatose state of heat stroke that I was experiencing out there!
On this last trip to NYC, we stayed at the Standard Hotel, located on Washington Street in the Meatpacking District. While there are many things non-standard about the Standard Hotel, what I found most interesting about it was its location straddling the High Line, an abandoned elevated rail line that has been converted into a pedestrian walkway and garden. It’s about 15 blocks long and is not only beautiful, but also practical; it’s a great way to see the stretch of Manhattan between 14th and 32nd Streets. The gardens are made up of a variety of local plants and flowers, decorated by public art pieces. It’s divided into a number of different “neighborhoods” along the way, including a sort of urban beach and an area for public performances. There are plenty of comfortable places to sit and gather with others. It’s inspiring to see urban spaces renewed and reused in this way. Not only is property value increased dramatically along this corridor, it provides a welcome refuge from the sweltering concrete jungle.
Here are some of my photos of the Standard Hotel and the High Line.
For me, the ability to control depth of field–the area that’s in focus–has been essential. It’s a major tool in my toolbox when I go about isolating a subject in the frame. Some of the other tools include negative space, color, and contrast, both visual and thematic. Depth of field is my favorite though. That’s why I’ve invested in lenses that give me the widest possible range of aperture to work with, and spent a lot of time learning how to control it. The latest toy is this Hartblei 65mm f3.5 Super-Rotator that I’ve talked about a lot lately. I bought it because I knew that I could use it to create very unusual depth of field effects, but when it finally arrived from the Czech Republic, I had no idea how it worked.
Before I start using a new tool on clients, I normally do some experimentation to get a handle on its operation. Usually, this involves taking pictures of inanimate objects and doing self-portraits before actually showing anyone the results.
The photo above is one of those experiments that I did with the Hartblei. It took a lot of fiddling under pressure, because this kid was biking around like a maniac, and I really wanted to capture him in front of the car before he gave up the game and went to do something else. With the Hartblei’s nearly infinite combination of tilts, shifts and rotations, it did take a few tries to get this effect predictably. Fortunately, on the kid’s last pass, I got the shot. The area in focus is thrown diagonally from the foreground to the background, with other areas rendered in a very pleasant bokeh, which is just a fancy way of saying “out of focus.”
Getting this shot of the Flatiron Building in Manhattan was a little easier, because I had all the time in the world to mess around with the lens to get the right areas in focus.
After a great deal of experimentation and failed attempts, I finally felt ready to use this lens with a client, in the studio. The client is a musician, who is releasing an album in the next month or two. We needed to shoot some portraits to use in the CD liner notes. My goal with this particular shoot was to get a kind of low-contrast feel which I felt matched the melancholy mood of his music, as well as the cover art for the CD. I envisioned everything being a sort of monotone beige, with the clarity of his eyes being the most outstanding features of the image. The eyes would already be isolated because of color, but isolating them further with focus and shallow depth of field really adds a lot to the laid-back mood, I think.
It was pretty easy to accomplish this with the 50mm f1.2 lens when he was more or less face-front to the camera. The area of focus is at a constant distance from the back of the camera, producing a very traditional shallow depth of field effect.
However, he had a great profile, and I wanted to be able to shoot this angle without losing the focus that fell mainly on the eyes and not elsewhere. This is where the Hartblei really came in handy.
By bending the lens so that it threw the area of focus across the front of his face, even though I was facing the side of his face, I was able to keep his eyes isolated in focus, while the rest of him softly blended away.
I remember sitting with a friend years ago, marveling at a book of Karsh’s portraiture, admiring his masterful control of depth of field. At that time, I wondered how he achieved this effect. Now I know it’s because he was using a massive 8×10 view camera with bellows that allowed him to similarly throw focus onto whichever plane he wished. Those cameras were cumbersome and difficult to adjust. These days, with small SLR cameras, it’s possible to get similar results, but in a more spontaneous and casual fashion. I’m looking forward to using this new trick more often in the future.