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.
While we were in California, we wanted to do a photo shoot on the beach. She found a couple of sticks on the ground, and with a few scraps of fabric from a local textile store, she fashioned a brilliant flying rainbow bird costume. We scouted an amazing location: the Torrey Pines State Reserve, in La Jolla. The reserve is home to a stunning beach, backed with high cliffs. Boulders, layered with gold and purple hues had tumbled down the cliffs, and lay in ruggedly beautiful disarray on the sand. They seemed the perfect backdrop for our initial photos of the rainbow bird.
Next, I wanted to see the rainbow bird fly, so Laura headed into the surf for some leaps. A lot of leaps, actually. It took a lot of trial and error to find the right angle, pose, and to time the shots and leaps with the waves. I think Laura leaped about 120 times before we figured we had the right combination of sky, sea, sand and rainbow bird. The sky was overcast, the sun being obscured by the thick marine layer that invades the So-Cal shores at this time of year. There was still ample light, though, allowing very fast shutter speeds for freezing those leaps in mid-air. After we’d exhausted our quota of leaps, it was time to cool off by splashing into the Pacific Ocean. As a side note, jumping into the ocean in your clothes is only fun until about five minutes after you get out. Then it’s just damp and clammy. It was still worth it though!
Later on, I reviewed the images on my laptop. I couldn’t help but wonder if the photos of the colorful rainbow bird would have been better with a bright blue sky. The next day, after we’d moved up the coast to San Clemente, and checked into a motel that can only be described as “kitschy,” the sun came out. It had turned into the perfect blue-sky California day that I’d envisioned when we’d started talking about this shoot. I persuaded Laura to don the rainbow bird costume once again and we walked down to the beach.
Many more leaps ensued. Finally, a hundred and fifty more leaps into the shoot, Laura announced that it was enough.
Here’s the final image that we chose from the many that we shot over those two glorious days at the beach. I feel that it captures the mystical character of the rainbow bird with a slightly unusual perspective. I shot it from a low angle, close to Laura with my 24-70mm f2.8L lens at 24mm. I asked her to leap as close to me as she could, so the wings would brush over my head as she passed me. This is what it took to exaggerate the perspective and get that shot that stood out from the others. To obscure her footprints in the wet sand, we timed it so she would leap just as the white foam surf washed under her while she was in the air. This helped to further the illusion of flight. I’m very happy with this image. I think all the elements finally came together in the moment to create a photo better than either of us could have imagined ahead of time. That’s my favorite way to work.
This rainbow bird photo is the final photo that we shot for our book Live Your Spirit, which is now available at Blurb.
I did a shoot with Shirley on Aliso Beach in South Laguna, California. We set up the shoot by email, and initially, Shirley was a bit nervous about how it was going to go, but I assured her that it would be fun. After all, how could it not be? We’d be hanging out on a beautiful beach, the wind in our hair and the surf at our feet, with my camera riding along as an unobtrusive observer. I couldn’t see how it wouldn’t be fun. When I met Shirley, I was struck by her radiance. She positively glows, and it was indeed easy to get fun and beautiful photos of her. I think the ocean brings out a sense of joy in all of us, and it didn’t take long for us to relax into a flow of playful shooting.
Shooting contre jour in that brilliant California sun provided dramatic accent to the already spectacular setting. The ample light also afforded me the luxury of high shutter speeds, even with my camera dialed down to ISO 50. One of the reasons I really like Canon DSLRs is that they have the ability to shoot at ISO 50. Sure, high ISO speeds are desirable in low light conditions, but low ISO speeds are also handy because they allow me to stop down to f2.8 in sunny conditions. Anyway, because of the bright light, I took the opportunity to encourage Shirley to move, jump and dance. Freezing action amps up the fun and energy levels of a photo.
Shirley’s in the process of choosing her final images from the shoot, but I couldn’t resist sharing these few samples of our fun afternoon on the beach.
Okay here’s a little bonus entry for all of you beginner night photographers. Ever notice how hard it is to get a proper exposure of something that’s lit up at night? If you do a long exposure of that lit subject, it ends up that the rest of the photo is too dark, or the subject is overexposed. I figured out that the best way to solve this problem is by “dodging” certain areas of the photo during the exposure.
In this particular photo, the exposure was 13 seconds at f8. Shot normally, the well-lit church would be completely white and overexposed. My technique is to use hold the lens cap close to the lens, obscuring the brightest parts of the image. In the photo above, I covered the top portion for at least 9 seconds of that 13 second exposure. I move the lens cap back and forth quickly during that 9 seconds, so that the area is blended, and doesn’t just appear as a darker circle in the final image. The bottom part of the image gets the full 13 second exposure, so the reflection is nice and bright.
The lens cap is great for most things, but experiment with other items for blocking the light. When I first started using this technique, I was using my fingers to block the light, but I found that I’d get strange color patches in the image because light was reflecting off my skin and into the photo. I find that a soft piece of black cloth is the best, because it reflects no light, and can be folded into different shapes to be more precise with the dodging. Plus, it won’t scratch your lens as you move it around.
I always try to get the exposure as close as possible to perfect in the camera. That way you don’t lose image quality or create excess noise by manipulating the levels too much in Photoshop.
Try this out and be creative with it. Let me know how it goes!
