Photo Op 2012 ~ Week 3 ~ Pinhole

on 27.2.12

Here are some of my images for week 3.  I'm still getting some of the kinks worked out,  but it's getting better and better.  I really want more of the photos that record several actions in one photo such as the case in the last photo.  I am pleased with these images though.  I took them in my bedroom, which only has one window and a dark painted wall which makes the color story in the photos.
All photos have a 10 second exposure except the last photo which is 25 seconds.

Sweet Shot Day

Photo Op 2012 ~ Week 2 ~ Pinhole

on 19.2.12

Still trying to work this out.  I have tried long exposure and short exposure and I have not seen a big difference.  Not happy with my results, so I think I need to change some of the variables.  These photos were still part of experimenting just to see what the outcome was going to be, so I wasn't caring about what was in the photo so much. 

8 Bit or 16 Bit

on 18.2.12

Elizabeth Halford wrote an article with some great resources concerning the 8/16 bit difference. Here is what got through to me, this article I thought did a great job explaining the 8/16 bit difference and ways around it quite well.  But I still have questions.....

Here is a video explaining what happens when you do edit as a 16 bit image, and what you can do to get around it.

Shtuff People Say to Photographers

Photo Op 2012 ~ Week 1 ~ Pinhole

on 15.2.12

Pinhole ~

So I spent my first week trying to figure this whole DSLR pinhole thing out. I didn't remember to bring my tripod, so I had to use the ground. These first photos were really just trying to figure out what it (my lensless camera) was going to do. My ghostly images weren't ghostly enough but I'm learning.


Photo Op 2012 Month 2 ~ Pinhole

Pinhole Photography

The idea ~ Experiment with pinhole photography by going back to the basics and photographing without a lens.

What is pinhole photography?   Photos taken with a pinhole camera.

What is a pinhole camera?   A pinhole camera is a simple camera without a lens and with a single small aperture – effectively a light-proof box with a small hole in one side.  Wikipedia

Here is a great pinhole photo by Katie Cooke.  Notice the camera recorded the many expressions,
and positions in a ghost like manner.  There is sharpness, and also softness. Katie Cooke states on
her blog that using an empty box with no mechanics or lens, my photography is a slow, quiet conversation between camera and subject.  Well put!

You can make your own pinhole camera from a cereal box, or use something more high tech like a laser made pinhole lens cap for a DSLR.  The process is both simple and complicated.  It is very experimental, and involves some math.  Pinhole photography differs because it creates extreme depth of field but yet the photos have a soft, ethereal effect.  There are many factors to consider such as pinhole diameter, focal length, film speed, and shooting conditions.  Each pinhole camera can be different based on those factors. To estimate exposure, you must know your f-stop.  The f-stop of a pinhole camera equals the focal length ( distance from the pinhole to the film) divided by the pinhole diameter, so fl / pd = f-stop.  To simplify things I found this calculator online.  I can't wait to get started!

End ~ month 1

January's challenge ~ Portraits
Febuary's challenge ~ Pinhole photography

Happy ♥ Day!

on 14.2.12

Did I mention I ♥ Buddy Holly?  Well, I do!  And seeing how he often wrote about love, it seems
fitting to include him today.  Here are some of my favorites!


Not fade away....

Oh Boy....

Rave on...

Happy ♥ Day!

I ♥ this song!  It is an old (seriously, like 5th grade old) favorite.  I believe the first time I heard it was when I saw Valley Girl circa 1983 (not a wholesome movie by the way), and this was the guy gets girl song at the end of the movie.  It's been my favorite ever since.   Enjoy!

Photo Op 2012 ~ Week 4

on 11.2.12

So this my last post for my 1st months challenge ~ portraits. I feel bummed that I wasn't able to take pictures of a variety of subjects, so I am going to cheat just a tad. Here are some portraits I had taken in the past year for myself as well as for my street blog

Sweet Shot Day

The Meal

The Meal

One moment. One meal. One photograph. Let's eat.

On February 24th at 12pm EST, join thousands of people around the world in a simultaneous global meal. Whether it's breakfast in LA or a midnight snack in Beijing, let's take a moment from our hectic lives and share it with strangers around the world. Snap a photo of yourself and your meal and mail it to us — we'll create an exhibition from these self-portraits, documenting the world's largest communal snack.  These simultaneous snapshots will be exhibited in our storefront project space and made available online. Our aim is to inspire a feeling of community across geographic and cultural boundaries.

Interested? I'm in, how about you?  Find out more about this exibition and rules here.

10 Things Every Creative Person (That's YOU) Must Learn

on 9.2.12

Great list by Chase Jarvis!  To wet your appetite, here is the first 5.  To read the rest click here.

Here is a list of 10 things I’ve learned the hard way that every photographer, designer, or every creative person–should know.

1. Experts aren’t the answer.
The blogs, the teachers, the mentors, the seminars aren’t the answer. They’re not there to tell you exactly what you need to know. If they’re good, then they are there to give you some ideas, some guidelines, or some rules to learn and subsequently break. This isn’t about the expert, it’s about you. In creative pursuits especially…what’s going on inside you is where the answers can be found. Hear what experts say, but don’t always listen to them.

2. Clients cannot tell you what they need.
Clients hire you because they have a problem. They need a great visual representation of something, a solution. They think they know the best way to photograph something, but they don’t really. That’s why they hire you. Take their suggestions to heart, because they definitely know their brand, product, their vision–perhaps even shoot a few versions of the images they THINK they want to see first–but then go nuts with own vision. Add value. Show them something they didn’t expect. Don’t be a monkey with a finger. Remember why you got hired…that YOU are the badass image maker. If you are good enough to get selected for the job, you should be good enough to drive the photographic vision.

3. Don’t aim for ‘better’, aim for ‘different’.
It’s funny how related “better” and “different” are. If you aim for ‘better’ that usually means you’re walking in the footsteps of someone else. There will often be someone better than you, someone making those footsteps you’re following… But if you target being different–thinking in new ways, creating new things–then you are blazing your own trail. And in blazing your own trail, making your own footprints, you are far more likely to find yourself being ‘better’ without even trying. Better becomes easy because it’s really just different. You can’t stand out from the crowd by just being better. You have to be different.

4. Big challenges create the best work.
If you get assignments that are pushing your vision, your skills, then awesome. Kudos to you, keep getting those assignments. If you’re not getting those assignments, then you need to be self-assigning that challenging work. Give yourself tough deadlines and tougher creative challenges. You do your best work where there is a challenge that is clearly present and 10 feet taller than you think you can handle.

5. Aesthetic sensibilities actually matter.
Go figure on this one… I’m constantly surprised as how much this is overlooked. Read this and believe it: You must develop a keen understanding of design, color, light, and composition. To just say “I know a picture when I like it” isn’t going to get you anywhere. You need to know –for your own sake as well as the sake of your clients who will ask you– WHY a photo is a great photo. WHY is this one better than that one. If you don’t have any visual vocabulary, opinion, or aesthetic sensibility you won’t be able to explain these things. You won’t get the job. Or if you do get the job, you won’t be able to explain why your photos are worth getting hired again by the same client for the next campaign, story, or video. Trust me on this. Develop a sense of visual taste.

Dream House

I love post modern architecture.  I love being up high.  I hate being at ground level. I love windows, lots and lots of windows, walls of windows, the bigger the better. I love outdoor living.  I love dark wood.  I hate oak (except in nature).  I love modern, and urban with a tropical flavor, think Bali.

Reality is I live in the mid-west, where people have basements, vinyl siding,  one window in each room, and loads of oak laminate flooring.  New homes often look just like the typical kid drawn house with a peaked roof, a front door, and a window on each side.   Some of the homes that go up here leave me stumped as to who would pay so much money to get a degree and then be so lacking in passion about their craft.  There are those that design custom homes, and there are those that design for you average neighborhood.  My question is why does your average neighborhood have to be so boring?

So here are some photos of what my dream house looks like....almost.  The first one I love but it misses the mark because, well there is a ground floor.  The last one is perfecto because it has 2 upper levels and you could use the ground floor like a pass through, garage, skate room, etc.  A house on stilts...yes please.

The Glass Loggia House by Allen Jack and Cottier

My dream house, it absolutely takes my breath away ~ swoon.   
 35th Street House by Lazar Design/Build