Tuesday, August 1, 2017

A Wilder Place

 A Walk on the Land

 When I'm hired to shoot a "land job" it is the closest thing to what I originally set out to do as a photographer when I began my career. Much has happened since then, but my intention at that time was to travel the world to shoot landscapes. Although I've photographed many different kinds of assignments since then I would have to say that it is my favorite thing to shoot. Wandering the land, familiarizing myself with its shapes and textures and trying to figure out where I will be standing when the light is perfect. This piece of land was particularly beautiful.






Thursday, July 6, 2017

Hammer Down

Tom Guido

In progress

Monday, June 19, 2017

Rocky Mountain Alps

The Mountaineers Mountains

I want to make sure I get this right because there are those who know more about this than I that are there to make sure to correct me if I stray from the absolutes. The San Juan Mountains of Colorado, from Ouray in the North and ranging South to Piedra and home to 13 of Colorado's 54 peaks above 14,000', and eight above 13,000 feet, have been referred to as the North American Alps, and they truly are. I have wandered through all of the mountains in the Gore Range, Swatch Range, Collegiate Range and the Maroon Snowmass Wilderness Area, and many places between, but there is nothing like the San Juans. For their expansiveness, and relief. The mountaineers mountains. I started kicking around in the southern mountains of Colorado only recently and have found that navigating them on foot is a supreme challenge. Mt. Sneffles Peak, at 14,157', pictured below is a true Massif and flanked by venerable ridge lines that beckon to be traversed. 

The images below, shot out the window of a Cessna 185, flown by my long time friend and mentor, Barry Stott, give a unique view into the utter expansiveness of this upheaval of granite. From the air, you can see layer upon layer of spine upon spine of some of the most rugged terrain that North America has to offer with an array of sculpted and unique features beyond any description.

Inviting and defying. 

Tuscan Design

Every Room Like Art

Among the many arrows in the quiver of a sound photographer are the arrows of interior and architectural photography. Much of my work is out on location in a beautiful or interesting setting shooting people. Some pretty, some interesting, but people none the less. Animate targets who I can boss and direct into my desired outcomes. I am also asked to photograph spaces of the living and working sort, void of humanity. In the days of film, we tediously shot everything on 4x5 film setting everything up on Polaroid film first concealing lighting where ever we could to achieve the perfect image, sometimes with eight or ten lights hidden, all on one sheet of film. Nowadays, in the digital era, we have no such tedium. I now use one light with the camera in lockdown and blast supplemental lighting into the dark holes and onto the interesting surfaces one frame at a time. The rest comes in editing, layer by layer, until the image is complete. In the days of film we were able to get 4 rooms shot, per day. Five tops. The smaller the room the more time consuming. These days our image count is quite a bit more than that. This home was designed by interior designer Mooney Graves and was quite fun to shoot because of the palette of colors, the incandescent lighting and the natural wash of window light.

I recommend exploding each of these images by clicking on them. Lots of interesting details.

Thursday, May 25, 2017

Forever Young

Crossfit Dreams

I had my direction, but was given some creative license on this assignment for a small crossfit training gym offering precise and tailored fitness programs to a dedicated few. We shot during two 3 hour sessions with both instructors and clients and wanted to portray precise or technical body positions for social media and web usages. I wanted to end up something unusual and artistic. The gym is a very small area with not an inch of wasted space and very industrial. I knew we would be repeating the background elements in each shot so one of my primary challenges would be to change things up in the far field as much as possible. I spent the first hour of the first session standardizing my lighting so I would be able to move fairly quickly thereafter, maintaining a fairly consistent look throughout the project. The low-key setting with a "black on black" palette complemented the flesh-tones of the models nicely with the lighting scheme we settled on. All of the lights were set very close to the edge of the frame intentionally to cause the subtle flare in most of the shots. Once we got our cadence, the shoot moved quickly. There was a bit of post in these images, but it's important to note how important it is to get it right in the original file. The quarters were so tight that I actually had to have a light stand digitally removed from several of the images. The client is happy with the outcome and so am I. 

What do you think ?