If you aren’t aware, I love tilt shift photography (or selective focus)–when done well. When not done well, it pretty much looks like a blurry picture. Though tilt shift photography hasn’t received the same amount of attention and uptake by photographers and the general public as HDR (high dynamic resolution), I find that tilt shift produces a interesting and unique perspective. I look at the work with the fascination of a little kid.
In a nutshell, tilt shift photography is a technique where special lenses are used to overcome the restrictions normal lenses have when it comes to depth of field and perspective. To achieve the tilt shift effect, the lens rotates against the image plane (tilt) and also moves along the image plane (shift). Through application of the Scheimpflug principle, the photographer can take an image with a very shallow depth of field using tilt and a larger aperture. Here is an example of a tilt shift lens.
Recently, I’ve noticed the use of tilt shift in an Allstate Insurance commercial as well as a scene in the movie A Serious Man.
Just today, a fellow photographer shared this great tilt shift video by Sam O’Hare on Twitter.
So, what’s shooting technique or style piques your interest?
As a number of you know…because I shot out a note on Twitter…I did a photo shoot for my first commercial client. I have been encouraged by the number of requests for prints (singles and series). Recently, though, a representative for a company saw some of my images and inquired about using me for a shoot. My heart leaped and a lump grew in my throat. Can this be? Is this really my first request for a commercial shoot? Of course, it was coupled with nervous thoughts. “Do they really want me?” “Am I good enough for this?” Fortunately, I put those nerves and jitters on the shelf and accepted the job.
I tried to read as much as I could about negotiating fees and determining what rights would convey and those I would retain. I’m sure, like many others, my first contract negotiation was generous. I don’t mind, though. The bigger picture for me is that this shoot marks, what I hope is, a step in the direction I would like my professional photography career to take. That is, editorial/commercial photography.
Once all the paperwork was taken care of, my thoughts immediately turned to executing the shoot. I’ve been to a few photography studios recently, but, thankfully, my friend Sarah Mattingly graciously let me do the shoot in her studio. Not only did Sarah allow me use the space, she bent over backwards to help me set up and using studio lighting. I cannot thank Sarah enough for all her help and encouragement! While I can’t reveal the images from the shoot yet, I should be able to post some soon, or at least provide a link to client’s site where they will be used.
Inspired by Chase Jarvis, here are some videos shot on the day of the shoot, captured on my Canon G10. (I am making a mental note to pick up a Flip HD camera–or borrow my friend’s D90. The image perfectionist in me would like the video quality to be better.)
My intent was to shoot some behind-the-scenes shots to share my experience. Naturally, I got a little caught up in the shoot and didn’t do as much video as I had hoped. You’ll notice that I didn’t get to show you what gear I was working with.
I did all the shots with my Nikon D300. I had several lenses with me, but ended up shooting with a Nikon 18-135mm f/3.5-5.6G IF-ED. I kept the focal length nearly 50mm. (I SO need to get a 50mm 1.4!) Sarah’s beautiful studio is equipped with a number of AlienBees flash units and Pocket Wizard transmitters. We used three flash units on the shoot. One unit was used exclusively on the near-white studio wall to produce a clean white background.
On an aside, I must admit that I engaged in a fair amount of daydreaming while in Sarah’s studio. Someday, I would love to have a space like hers to call my own.
All told, I shot about 300 images. I narrowed the number down to 60 for the client’s contact sheets. I’m happy to report that the client was extremely happy with the proofs and asked for final processing of nearly 1/2 of the images provided.
What a great way to end 2009! I am hope this is just the beginning of what will be many opportunities in 2010.
Happy New Year!
While I work on a post about the oft-overlooked aspect of becoming a professional photographer — it’s a business — I thought I would put up a more lighthearted piece.
A couple of years ago, I was introduced to the term “bastard lenses” by a pro. He dropped that term after I rattled off a descriptions of lenses in my lineup. He was right. I had a hodgepodge of lenses acquired when I was buying film camera from people on Craigslist. The are decent lenses, at best, but as I shot more and more it became apparent that I was/am working with some pretty average glass.
Last year, I bought a Nikon 105 f/2.8 micro lens. Wow! Talk about having your eyes, quite literally, opened to a whole new level of quality. I love this lens. Subsequently, I am on a mission to fill out my lens family with similar glass. Accordingly, here’s my wish list.
Nikon 12-24mm f/4G IF-ED AF-S DX
Nikon 24-70mm f/2.8G ED
Nikon 70-200mm f/2.8G ED-IF AF-S VR
Nikon 50mm f/1.4G
It wouldn’t be a proper wish list if I didn’t include the full-frame bodies I would love to have in my bag.
Nikon D3X
Nikon D700
I would have listed the D3 instead of the D700, but I would like to have two different-sized full frame bodies. I have the D300, which is pushing the envelop on totability, so the D700 would at least have the relative weight and feel.
I know there’s a big movement to incorporate video capabilities with the DSLR bodies. Honestly, I’m not that interested in shooting video with my DSLR, and am perfectly comfortable using my G10 to capture video. (Of course, I may eat those words at some point in the future, but this is about where I am today.)
So there it is. Know anyone feeling rather benevolent with about $16k?
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