الأربعاء، 28 أغسطس 2013

Disney's Invisible Flashes


 

While visiting Disneyland Paris, long-time reader Paul Mason of Hartlepool, UK watched a Disney staff photographer work a room doing shots of kids with the characters.

He noticed a remote on the photographer's camera, but saw no flashes anywhere — until they went off.
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Disney has always been a great organization for stagecraft.

And true to form, the staff photographers at Disneyland Paris want to make sure the magic spell isn't broken by a bunch of strobes, remotes and Magic Arms hanging about. Given that they work the same room all of the time, the solution is as simple as it is brilliant.

Paul explains:

I just spent the day with my two young kids in Disneyland Paris. One of the high points of their day was the "meet the princess" session, where they got to meet and greet a Disney princess in her castle.

I had a simple walkabout kit (camera, 18-200 and an sb600 mounted on camera). There was your typical Disney photographer lurking nearby who had some kind of trigger in the hotshoe. What surprised me was that when he jumped in and started shooting, the remote units he was controlling were actually built into the wall of the room, and covered with a screen/scrim or similar so that you couldn't even see them until they fired.

Made quite a difference to having light stands and umbrellas as part of the setup, and meant that the fairy castle image could be maintained. I was quite impressed with the setup.

I'll say. That's a pretty slick. So A+ for photo lighting stagecraft. But as for the actual lighting...

The images were less inspiring; rather over-flashed and flat. My on-camera (Editor's note: (o_O)) flash balanced with a little ambient gave good enough results without me needing to spend 16€ on their images!

On Assignment: Saving Florida's Springs



We spend a lot of time on f/stops, shutter speeds, lighting ratios and the like around here. But none of these things — none — matters when compared against another variable: What can you actually accomplish with your photography?

Long-time readers will be familiar with Florida-based nature photographer John Moran from previous article on Strobist. Always an advocate of nature, he has been one of natural Florida's most eloquent voices for conservation. Now he's taking that fight to the next level, aiming his cannons —and his Canons — at one critical target: saving Florida's natural springs.

What a person with a camera, a few lights and a vision (and help from his friends) can accomplish, below.
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Man on a Mission

What matters to you? Seriously, everyone is passionate about something. What if you could use your cameras and vision to affect change for something that was truly important to you?

This is what John Moran is doing, and it is a blueprint for any photographer who wants to leverage his or her skills to do something meaningful.

When planning this entry, I sent John a brief list of questions to consider so I could wrap a post around his answers. But what I got back was classic Moran: a full, 360-degree essay that touches on many of the things that make a project like this come alive.

There's vision, photographic technique, collaboration, leverage, even the public tweaking of authority. And, absolutely boatloads of passion.

If you want a template on how to turn your love for photography into something real and tangible and a catalyst for change, you could do far worse than to read what John wrote back to me. Which is why I am running it in its entirety. I have annotated it [in bracketed itals.] but from here, the words are his.
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John Moran, on Springs Eternal

The heart of my job as a Florida nature photographer is to be amazed, and to remind viewers why so many of us fell in love with Florida in the first place.

I gave my heart to the springs of North Florida soon after moving to Gainesville to attend the University of Florida 40 years ago. While lots of places have beautiful beaches and bays and rivers and lakes, Florida alone is home to the world's largest and most impressive array of freshwater springs. But many of our beloved "bowls of liquid light," in the words of writer Marjory Stoneman Douglas, have fallen on hard times in recent years, withering under the twin assault of pollution — much of it from fertilizer nitrates — and relentless groundwater over-pumping.

This year marks the 500th anniversary of the arrival of Juan Ponce de Leon in Florida on his fabled search for the Fountain of Youth. Ponce's search was a myth (he was really looking for slaves and gold) but our springs — our true magic fountains — are very real, and very threatened.

Two years ago, I joined with Lesley Gamble, an art history teacher at the University of Florida, to create the Springs Eternal Project, an evolving series of creative partnerships in collaboration with a diverse community of springs scientists, researchers, artists and advocates.




One of the project components was to create a major exhibit, Springs Eternal: Florida's Fragile Fountains of Youth, which is currently on display at the Florida Museum of Natural History in Gainesville. I worked for the past two years to create new work to add to my personal archive and the exhibit is a 30-year retrospective of my springs photography. The exhibit continues through Dec. 15th (Learn more at JohnMoranPhoto.com.)

Many of the photos are beautiful, befitting the subject matter, but some — especially the then-and-now pairings showing the changes I've seen — are heartbreaking; once-blue springs that now are murky, green and slimed with algae.

The night-time photos accompanying this post were created in partnership with my friend and fellow Florida photographer David Moynahan, with post-production by Jon M. Fletcher. (Jon also made the museum exhibition photo.)

The spring seen at top is a little gem on the Suwannee River. I call the photo Oasis in the Dark, and it reflects my belief that the soul of Florida can yet be found by those with wonder in their hearts. Rarely do I feel more fully alive or closer to the presence of the divine than when I visit one of our beautiful springs in the dark. Add a little light and the world is transformed, if only for a while.

With the camera clamped to a ladder tripod, [Note: Moran's custom 20+ feet-tall Frankenstein ladder/tripod, AKA the "Johhny-Pod," is a post in itself.] the photo was created with about 20 exposures blended together to illuminate the scene. Nothing was added in post, beyond blending the layers of light. [Note: Here's how to do that.] We used a mix of lights, including a Q-Beam spotlight, a Light and Motion Sola dive light, an Inon Z-240 underwater flash and a custom underwater bare-bulb flash, powered by a modified Norman 200B battery pack, that I built 15 years ago.

After finishing our evening's work, David and I grabbed the dive light and took turns free-diving at midnight, deep into the third spring bowl in the background of the photo. I live for moments like this.

The photo is one of 88 featured in the Springs Eternal exhibit, which museum officials estimate will be viewed by some 150,000 visitors during its nine-month run. One of my underwater photos, showing a pair of manatees at Crystal River National Wildlife Refuge, covers a clerestory window with transparent film panels measuring 20x60 feet. [Note: o_0]

The exhibit also features quotes from our governor and secretary of environmental protection, proclaiming in effect what a fine job they are doing as environmental stewards. Juxtaposing their words against pictures clearly showing our springs in decline, the exhibit could lead one to conclude that the mightiest river in Florida is now the river of denial flowing through Tallahassee.




I've long had my vision — that's second-nature to what we do and who we are as photographers. And for many years, I was content to be a nature photographer who just made pretty pictures.  But reality kept getting in the way, and along the way I found my voice and I began speaking out about the changes I have seen. I wrote newspaper op-eds and gave impassioned speeches, including on the Capitol steps at the Florida Springs Rally.

I came to see that many of the agency officials to whom we have entrusted the protection of our priceless natural treasures talk a good line, but that my pictures tell a different story. I realized that you don't need to be a scientist or a planner or a politician or an expert to have a place at the table and that it falls to us as artists to give voice to the truth that place matters, and that our bond with our place on the planet is one of the most deeply felt needs of the human soul.

Our springs are world-class treasures and they deserve world-class protection. Pictures have a way of reaching people in ways that words alone cannot, and I am hopeful that my work has added to the dialogue about water and Florida's future. We are working now to get the exhibit catalog into the hands of every one of Florida's 160 state legislators, and to travel the museum exhibit to other venues statewide.

If democracy is fundamentally about having a conversation, the question here is, "Who speaks for our springs?"




I have been drawn to answer that call. Our pools of stunning blue wonder deserve no less. But if you ask whether I really believe that photography can save the springs of Florida, I will tell you that's not how I measure the worthiness of this endeavor.

I'm a collector of aphorisms; simple truths writ small. Here's one I like, a philosophical four-step that has guided this project and allowed me to focus less on grief and anger, and more on wonder and gratitude: Show Up. Pay Attention. Speak Your Truth. Let Go of Outcomes.

As I end this, let me say that I have long been impressed with the extraordinary talents of the Strobist community. I have learned a lot from following this blog. And to those who have mastered the craft of photography and are in a reflective mood as you ponder your next steps, remember the words of the Buddha: "The purpose of life is to find your purpose and then with all of your heart, give yourself to it."
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London and Baltimore: Going Out With a Bang



The good news: I just landed what will almost certainly turn out to be the coolest gig of my career. It's a dream project, and I could not be happier nor more excited about it.

The bad news: It will be very time-intensive, so it will have an impact on my life going forward. Which my upcoming seminars in London and Baltimore/Washington are probably gonna be my last. If not ever, then certainly for a long time.

So let's sweeten the pot a little bit for the last go-round...
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Just as when I left my job at The Baltimore Sun in 2007, the main reason for cutting back from teaching is to keep hold of my family time. The 6- and 9-yr-olds I wrote about back then are both teenagers now. Time is going really fast.

But you guys have grown to feel like a family, too. So there's no way I am quitting Strobist. However, there will be some changes coming next year. I am still working through that plan, but they will likely involve decreasing frequency and increasing quality.

I think that's a win-win. Zack Arias is right. God knows there is enough noise already. I am willing to sacrifice some noise in the quest for better signal.

No matter what the final choices with regard to Strobist, it is clear to me now is that these will likely be my last two seminars. That's because teaching involves the double-whammy of time plus time-away-from-family. And besides, the new gig is travel-heavy. So backing off from teaching was an obvious choice.

So for these last two classes, I am going to do something I haven't done before.



London, September 28th and 29th

I am so glad I got to be a part of this London photo weekend before the meter ran out on my time. Gulf Photo Plus is a wonderful organization and it is exciting to be able to help to bring it to London.

The early-bird discount seats are long taken at this point. But at $449, the Gulf Photo Plus' Pop-Up London weekend is a fantastic opportunity nonetheless. It's sorta like FlashBus squared, but better. If you are in striking distance of London in late September, I can say with absolute certainty at this point that you'll never get this opportunity again. Best go for it while you can.

You won't be disappointed. I have spent significant time in the audience of Mssrs. McNally, Arias and Heisler, and have never regretting a moment of it. I love learning from these guys, who collective have so much to offer. And as for my own segment, I honestly believe that what we'll be talking about is far more important than anything I could teach about lighting.

Yes, Strobist is about lighting. But my bigger passion over the last seven years has been to study the ecosystems connected to photography and to learn how to create, exploit and leverage them. As I sit and write this, I realize that this is the knowledge that specifically led me to my next photo gig. Especially when you consider that project will not involve the use of a flash at all.

So for my last photo-related seminar, my hope is to leave some folks in London with the best advice I could possible give them. For the people who are truly successful in photography, the photo-taking part is actually a very small part of the overall skills. This stuff matters.

And to sweeten the pot a little bit, I will have on my person 25 copies of Lighting in Layers. Not on DVDs which, granted, wonderfully repurpose as a set of coasters. But rather on something more useful: an SD card.

The first 25 people who walk up to me and say this code phrase will get a copy of Lighting in Layers on SD card:

"No offense, but I am here to see Heisler."

That's the phrase. Say it and you will get the card. Say anything else and you will get a dumb look. Because I have no idea what you are talking about and, what SD card? Huh?

And if you are too late to get one of the 25 SD-card LIL's, I'll have with me a thumb drive for you to borrow and move the content to your laptop. So bring a laptop with you that has 3GB of free space, just in case.

And please, be discreet. Ask it out of earshot of other people. This shit is compartmentalized security. And mind you, I'll be wandering the streets of London for a few days before the GPP weekend. So if you see a devastatingly handsome middle-aged white dude wearing shorts and a T-shirt, well, you know what to do.

More info on the GPP_PopUP weekend: My Earlier Post | GPP London Webpage
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Baltimore/Washington, October 21st

This October, my final planned seminar will be on blogging and social media. That's actually a bit of a confusing title. It's really about how to use the web and social media to amp whatever it is that you are doing, but that proved to be too long of a title.

There will be a little crossover with London. But this is more of a 50,000-foot view, and it should be useful whether you are a photographer or small businessperson or a cog-in-the-machine or just someone with an idea in the back of their head who wants to learn how to digitally incubate it.

When I realized I was going to leave The Baltimore Sun to go to the web, I brought to bear a journalist's skills, focus and passion to learning all I could about the way the social web worked. And I have never stopped doing that over the last 7½ years.

This ecosystem affects everything. It's like a river. You can sit there and just watch it go by, or you can recognize that it carries energy that you can harness and shape and use to power things in the way that you want.

It's like everyone has a house right next to the river, but relatively few people spend much time figuring out how to harness the free power. We're gonna build some water wheels.

It was originally scheduled for June, but due to a sudden tragedy in the local blogging community we decided out of respect to reschedule it for October. This is a smaller in-house gig, and thus I am able to keep the costs down. The price for the day is $159, or $99 for nonprofits/students with ID.

But given it's the last dance, I want to amp this one a little bit, too. And since I have a little more control, I am going to do it in two ways.

I think this is valuable stuff, hard-won through experience. But afterwards if you disagree and think it was a mistake of your time and money, just say so and we'll refund every penny. I can't offer you better than that.

Except to add this: as in London, I'll also have 15 copies of Lighting in Layers on SD cards. You can grab one the same way, with the same password phrase as above. Again, please be discreet. Besides, given the context it would likely confuse the hell out of any muggle non-lighting bystander within earshot. Also, when/if I run out I'll have a loaner thumb drive, too.


More info on 10/21 seminar: My Earlier Post | Sign-up Page
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So there. I'm sad that these will be my last two seminars. But so very excited about my future plans (more on that as it develops). And it goes without saying that I am grateful for the many virtual friendships I've built over the years through this site and the many of you I have met in person at various events over the years.

I hope to meet a few more of you in September and October.