The “Plan B” Photo Shoot Weekend

Saturday, June 28 2009, 1945hr

I was on location at the finish line of the Western States 100 Mile Endurance Run. The winner was due in about an hour.

I was setting up my lights—A Norman 2000 power pack, 2 lamp heads, one with softbox, the other with translucent umbrella. I was taking preliminary flash readings when I heard a loud cracking sound from the powerpack, followed by a slow puff of smoke. I toggled the switches, hoping that I had been hallucinating. The test switch was inoperative. I had a dead power-pack.

I could’ve been totally screwed. However—I’d packed my Lighting Plan B: 2 Vivitar 283s, 2 285s, a radio slave, and some Wein Peanuts. Incidentally, the case was a dumpster salvage from Art Center, thanks to my friend Lars who is the Shop Supervisor at the Lida St campus.

I quickly took new readings. The winner arrives. I make my shots, and await the next runners.

image shot 2100hrs

Over the next 12 hours I photograph another 40 runners.

TECH DETAILS

site shoot plan

1. 283 firing into silver umbrella at purple setting
2. 285 set to 1/4 power, firing thru translucent umbrella
3. 283 set to 1/4 power, stofen’d, set to 1/4 power
4. Film: Kodak TriX ASA 320, 1989 vintage, shooting at 1/250 f 4
5. Camera, with 4i Radio Slave

So far, so good. Until about 0945 on Sunday. The 80mm lens on the Hassy decided it’s had enough. The Plan B Camera is pulled from the green room—the Yashicamat 124.

I shot the remaining roll of Kodak 160 in it, then switch off to Kodak ASA 400 TCN. Keep shooting.

Now comes the fun part: had I learned anything in the last 6 months, and more importantly, did I remember when I needed it?

I’d heard about using small strobes for big jobs. To tell the truth, I didn’t quite believe it. Looking back I needed to have big lights dump light to overcome a tendency to underexpose.

Realizing I needed more information, I’d started to read the Strobist.com back in December ‘08, as these guys are all about creative solutions with small strobes.

Over the years I’d collected a stable of Vivitar 283s and 285s. No, I couldn’t afford Nikon Speedlights, and yes, I’m a primitivist. These Vivitars are the AK-47s of flash—sturdy warhorses that dump an unholy amount of light. Even dialed down to 1/4 power, they make a lot of magic, and go all night.

When I got the film back, I saw that overall reduced light at night gave me rich shadow and modeling. As the sun came up behind the light-proofed backdrop, the same settings opened up deep shadows in the faces, and left enough modelling so there was dimensionality. By 11:00, the official end of the race, the sun was nearly overhead to give that special “hair-light” effect.

image taken around 1030am.

A major added benefit of smaller strobes: a lot less weight in travel, quicker setups and knockdowns, and the versatility of photo-guerilla shooting. I’m a way happier camper now.

Oh yeah: all the pix right here.

Creation Myths Revisited & Rendered

Nativity Scene of the Holy Family, Attended by los Tres Reyes Godzillas

In the Beginning

The Holy Family is attended by Los Tres Reyes Godzillas, who each have brought unique gifts of takeout, espresso, and a movie.

I shot this in 2001 with a Pentax ME Super, Fuji Reala 100 2G. Over the years I’ve scanned it as a print, then at least twice as a neg. Each time, I’ve seen more and been able to do more with the image.

When I scanned the print, I was captive to the murky print quality. The first time I scanned the neg with a Nikon LS2000, the details were eye-popping by comparison. The most recent neg scan was done with a Nikon LS9000 and the VueScan software [a whole other discussion] at 5400dpi, approx 12×16″.

The Bride Laid Bare

Moving pretty fast here:

• duplicated the original source layer, set the duplicate to multipy. Combined the two layers to build out slightly underexposed shadow areas. Modified with curves. Collected all three layers to new working layer “Collect 1″. Saved source layers in a folder their own, to be left untouched.
• All subsequent changes are written to “Collect 1″. Targeted areas with masks to bump the saturation, color-balancing, and modify inherent color casting
• Finished with an overlay layer, solid color at 5% opacity to unify all the elements. Painted out areas on the mask to modify as needed.
• I captioned it. Marion True helped me out on this one. Promise.
• Then saved it as a web-ready jpeg.

Here’s the map:

Nativity Layer Palette

Have yourself a Merry Li’l Xmas, and I’ll see you in the ‘09.