Archive for the 'photography' Category

14
Jun
10

Story Telling

Someone recently asked if I found the transition from stills to video a difficult one. I told her that I don’t really consider myself transitioning to motion, but rather expanding my services through its inclusion. The expansion was a natural one for me because theme shooting and storytelling have been an integral part of my still photography for what seems like forever. Her next question was “Well, how do you tell a story in stills?” Now I admit I was a bit taken aback by the question, but then it hit me like a ton of bricks, that there are lots of photographers whose work never calls on them to tie multiple frames together in a way that tells a story. Storytelling requires a different discipline because you literally must plan out your frames to convey the action. Additionally, if you are working on a magazine editorial, you know that you have a limited number of pages (six is a good number) from start to finish. It might mean multiple models and clothing changes, and props.
One of my favorite projects that I often cite as an example of storytelling in stills is a project I undertook called “Twisted Classic Children’s Tales.” I created multipage fashion editorials based on three classic children’s stories. The images below are from one of my favorites.

    

      

   

 

The images were shot at 10 am on a sunny day.  The location was a traffic triangle near La Guardia Airport in New York City.  A single Profoto head was mounted in a five-foot giant umbrella, and powered by a Profoto B2.  The model – Peter Chen for Q Models.

The images in this entry and which appear elsewhere in this blog are copyrighted by Byron Atkinson.

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28
Apr
10

Stills and Motion: The Model Dilemma

Just when I thought I got the “hiring a model for a still shoot” process down, along comes motion and throws a royal monkey wrench in my casting gears.  For still shoots, I stopped looking at the model’s portfolio first and instead go straight to the Polaroids.  Why the Polaroids?  Because they are an unedited record of how the model actually looks without make-up, styling, and someone else’s vision. With the Polaroids I am able to see the model from all angles, not just his or her best angles, without color enhancement or retouching.  I then look at the portfolio to understand their range, to determine if they will be able to give me I will be asking of them for my shoot.  With still work, since I work with a small group of agencies when I need to cast, and the agents understand the concept behind the shoots, and know how I work, I will often bypass the “go see” and cast on the basis of the stills.

But with motion, things have changed.  The personality of the model, the way the model moves and sometimes even the model’s voice become considerations. You now have to be concerned with whether the model will be comfortable taking direction and taking directions with motion is different than having someone bark directions at you during a still shoot.  In fact, I find myself looking for the newly emerging category I call “model/actor” more and more, because story- and theme-based motion work involves assuming a role, as opposed to posing or the “frontin’” that you do will stills. It gives that expression “you have to own it!” that you hear so often on modeling reality shows when the judges are looking at the film, a whole new meaning.  I find myself looking at model reels when they are available, and requiring a face-to-face if at all possible before casting.   

From where I sit, one of the most important things I can do is to describe, in as much detail as possible, what the shoot is about and what the role the model will be playing is. This means I am up-front about not only the story but the apparel as well.  With the video shoot entitled the “Pink Slip” (which you can view by clicking here) the models were told up-front that they would be portraying people walking the streets looking to “hook-up.”  The male models were told they would be rearing underwear underneath their coats.  Our female lead was told that she would be wearing a short pink slip under her coat.  I provide this level of information because I want to work with people who are genuinely excited by what they are getting involved in, who understand what I am going to ask of them, and can commit to it.  I don’t need or want the drama of someone getting to a shoot only to find that they have an issue with what I need them to do.  It was 36 degrees and windy the night of the shoot, and I had three models who we absolute joys to work with.

10
Aug
09

Some Reflections on the Word “USE”

"use and use"

I want each of you to say the following word:  USE.  I want you to remember what you said because sometimes what you see and what others may see, may not be what you get.

“Use” is one of the most misunderstood and abused words in the imaging related world here in the United States.  In fact, where the word “USE” is concerned, context and understanding context is of paramount importance.  A commercial photographer often employs the word as a noun; as such, “USE” is the word that is often called upon to define what can or cannot be done with the photographer’s images.  “Use” is also a word that often determines how commercial photographers price services as well as how they are compensated.  Modeling and advertising agencies, newspapers and magazines, are intimately familiar with “USE” as the purpose for which images are shot is fundamental in determining a significant amount of the dollars that flow between the parties as well as the contractual obligations. 

 

As a verb, “USE” (′yǖz) becomes an action, and sometimes the nuance of “USE” (′yǖs) the noun, gets lost.  Recently two incidents gave me reason to pause.  A potential client who asked for a proposal for images for a specific “USE”, balked at my retention of copyright and the language in my agreement that allowed him to “USE” the images for the stated purpose, but did not give him the ability to do anything he wanted to do with them.  In clarifying my position it became very clear that this start-up entrepreneur felt that he should be able to use (the verb) the images for any purpose he wanted, even though the project had not been priced that way and he did not ask for it to be priced for multiple purposes.  To his credit, after giving him some references, he came back and indicated that there was much that he wasn’t aware of with respect to images and rights and “USE”.  He is not alone.  Often people who aspire to enter modeling, photography and/or the representation fields are not aware of these concepts.  As we have become a more camera- and video-enabled society, manufacturers who incorporate cameras in their products have done little to educate or make people aware that there is more to imaging than just point, click, and distribute.

 

In another case, a friend, told me he was going to e-mail me an image by another photographer that he had downloaded and wanted me to see.  I asked him not to do send it, explaining to him that as a working photographer downloading and distributing someone else’s copyrighted work is something I do not do, as I would not want people doing that with my work.  The operative word here is work:  People sometimes tend to forget that the images they may be enjoying are actually work and not recreation for a significant number of us.  It was during that conversation that I realized that software companies are the greatest enablers of people being able to freely download images without regard to copyright or use.  In the absence of any kind of warnings, it is has become routine for people to click on many Web viewed images and instantly have the ability to save or send them.  Is it any wonder that significant numbers of people to feel that they have the right to “USE” images as they see fit?

 

I want you to recall how you pronounced “USE” at the beginning of this entry:  Was it as the noun?  Or the verb?  Or did you recognize it could go either way?  Since the Web audience is world wide, it is important to point out that laws and business practices often vary by locale, so you should become familiar with the laws and practices which govern you.

13
Mar
09

The Signs of the Times

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This project, “The Signs of the Times” is a real departure for me.  There are no professional models involved, no make-up artist or stylist, and no fancy lights:  Just me, my cameras, and a monopod.  Over the past few months, as I have traveled around the New York City, the signs of  economic woes have grown more and more visible.  As a visual artist, I get a very different sense walking the streets with respect to the economy than from listening to the news or reading the paper. 

As I shot this work, each set of images took me to a different place.  I feel like I have been on a rollercoaster:  I have laughed, nearly cried, felt depressed, and then uplifted.  Those who view the work may or may not feel the same, but in the end all I hope is that it will make people reflect a little more.

 

You can view the full project at www.theimagician.com  scroll on portfolio and click on the featured project “the signs of the times.”

 

 

27
Jan
09

the wish list! (alternative title-the people i’d like to shoot)

I have been thinking for a while about people I would like to shoot – with my camera that is!!  So here is my list and the reasons why.  They are not listed in any particular order:

 

From the world of entertainment:

 

  • Viola Davis – No “Doubt” about it!  Some of you may be asking “Viola who?  This is the woman for whom the “A” in actress should also stand for “A-List.” And an actress if you are not familiar with, you should be.
  • Patrick Swayze – The reasons:  “Black Dog,” “The Outsiders,” “Road House,” “The Beast,” and “Ghost.”.  And because of the strength he has shown as he continues to deal with ongoing health issues.
  • Guy Pearce – One of my favorite actors because he strives to give the characters he plays great dimension, and refuses to allow himself to be placed in a box.
  • Whoopie Goldberg – Because every time “Ghost” comes on, I stop what I’m doing and watch it; and any woman who names her production company “One HO”….
  • Angela Bassett – Because her journey from Florida to Hollywood by way of New Haven has been amazing to watch.
  • Anderson Cooper – Simply because “AC-360” is one of the best shows of its kind.

 

From the world of sports:

  • The Williams Sisters – Because few photographers and stylists have done these remarkable women justice!
  • Fernando Verdasco – Because he is an amazing tennis player, with model looks.
  • Dara Torres and Stacy Dragila, – Because they both demonstrate that where great athletic performance is concerned, age is just a number.

 

From the non entertainment world:

  • Henry Louis Gates – Because “Skip” Gates is one of the foremost keepers of African American culture and history.  It is vital to remember where you have come from to understand where you can go.

 

 

Now I don’t want to offend anyone that didn’t make the list.  I do want to say that Oprah you almost made the cut.  Your honesty about your weight gain gave me newfound respect and admiration for you!  The reason you weren’t on the list was that there are about a zillion photographers waiting to capture you and I’m just not in the mood to mix it up with them. 

I was also about to acknowledge that I would love to shoot a campaign for John Varvatos, but then realized that I wouldn’t mind shooting for Marc Jacobs, Kenneth Cole  and a few others too..

So perhaps I best stop the list here.

OMG! I just realized there are no pictures in this post! Please forgive me.

Hdhd,

Blogger Boy

04
Dec
08

Night Watch

 

Last week I decided to do something that I don’t get do very often:  Hit the streets and shoot at night.  My goal was to try some different lighting concepts out. The weather called for rain that evening, so I was reluctant to use battery pack powered strobes, so instead, I packed  a couple of portable flashes and small soft boxes, and a couple of Litepanel brand  micro video lamps.  Armed with two assistants (Cynthia and Michael) and a kick-ass model by the name of Jian Leonardo, we hit the streets of west Chelsea.  We started around 8:30pm, it was cloudy, you could feel the humidity in the air, but at least it was not cold as it had been the previous couple of days, and it was not raining yet. We walked to our first location, which much to my disappointment, we could not shoot at. (I will explain in a future post.)  I learned a long time ago, that it is important to have a back-up plan, and sometimes even a back-up plan for the backup.  Having walked the area on two occasions over the past several days, I put plan b into effect which resulted in us shooting on a sidewalk which was covered by scaffolding.  In assessing the “ambient “ light, I decided to use the two continuous led lamps mounted on a cross bar and hand held by Cynthia, as my main light, with fill where necessary, provided by a silver reflector held by Michael. The led’s were covered with a gel to warm them.

I found myself pleased and intrigued by the results. Even on the camera lcd, the shots had a more cinematographic feel.  They actually looked more like movie stills.

As we were moving to a third location, it began to rain.  We grabbed a few more shots, and packed it in for the night.  The finished shots can be viewed in the “after dark” portfolio on my website.  Here are a few out takes from the shoot.

hdhd,

blogger boy!!

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13
Oct
08

“Leave The Light On”: Part 1

I have started and restarted writing this entry more times than I care to admit! The problem is that there is so much that I can say or want to say that I have had difficulty finding the right place to begin. This project, “leave the light on” is an ongoing personal project.  I am a huge believer in a photographer-no make that an artist, undertaking personal projects as they can be both developmental and fulfilling.  This project brings together my fascination with the transient nature of hotels, the diverse nature and stories of the different people who occupy a room over a few days, a week, a month or longer, and last but not least, my ongoing fascination and love affair with light.

In some respects this project could be called “leave the strobes home” as it is one of the few indoor projects I have worked on recently without flashes.  In fact it was a last minute decision after bagging my packs, heads, beauty dishes, reflectors and grids to leave them at home. In an instant, I made a decision to work with whatever lights were available in the hotel room, .and to use that light, be it from a lamp or overhead fixture, as the main light.  In place of a heavy bag of lighting equipment, I left for the first shoot with two Sunpak brand “ready lights,” a black and a white collapsible reflector, and two camera bodies. For the balance of the shoots, the 17-minute per charge Ready lights were replaced with two Litepanels brand “Micros,” and a couple of plug in, LED night lights.  My lighting rules also allowed the use of small electronic devices as light sources, as well as the room television.

A significant challenge for me was not to allow the main piece of furniture in the room, the bed, to control the shoot or to be used in a way which objectified the subjects.  I did not want this project to become nothing more than a collection of images of scantily clad people, posed suggestively between the sheets.

I shot this project with a minimal number of people in the room:  With the exception of one shoot, it was just me and the model(s).  I have to say that although I appreciate my assistant, Cynthia Manning and all that she does on a set, shooting alone was a reminder of what a goldmine a great assistant really is!

I hope people will enjoy viewing these images as much as I enjoyed making then.  I want to thank all the participants who freely shared themselves with me and my imaging tools, and helped me realize my vision in a way far greater than I ever imagined…

The next blog entry will delve into the dynamics of some of the shoots.  If you want to find out more, be sure to come back

Until then…

hdhd,

blogger boy




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Eva Cassidy - Over the Rainbow, Rascal Flatts - Unstoppable, Renee Olsstead - A Love That Will Last, Train - Hey Soul Sister, Trisha Yearwood - How Do I Live, Jason DeRulo - Whatcha Say, Byron Kelsey Atkinson - The Love That Heals, Luther Vandross - Love Forgot, Patti Austin - True Love, Phyllis Hyman - No One Could Love You More, Keisha Cole with Monica - Trust, Shontelle - Impossible, Nickelback - This Afternoon, JayZ with Ms. Keyes - Empire State of Mind

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