Haha...made a spelling mistake on the last one so here I go again:
Hey Ian. I like how your watermark is barely noticeable. I keep debating on whether or not to use one here. When you approach people to photograph in Butte, do you just explain that you are working on a project to document the town? Are they all receptive?
Haha...made a spelling mistake on the last one so here I go again:
Hey Ian. I like how your watermark is barely noticeable. I keep debating on whether or not to use one here. When you approach people to photograph in Butte, do you just explain that you are working on a project to document the town? Are they all receptive?
I try to take the Alex Soth approach, get to know someone a little before you pull the camera out. Generally, the people I have met in Butte have been extremely friendly and keen to chat abouth their lives. Usually I can find some common interest to talk about. For this portrait, I met Frankies dad first and we chatted for about half an hour (about Frankies long list of achievements and injuries) before I asked anything about taking a photo. For me, this is the most enjoyable thing about portrait photography that I have just recently come to realize. You really get to know something about a person that you never would have otherwise (if the intent of making a portrait was not there). I do not say I that am doing a documentary project about Butte (I am not sure I see it as a "documentary project"), but rather ask if they would be willing to let me "make" a portrait with them. For me it is important to approach it with the idea of "making" a portrait and not"taking" a portrait. The camera is inherently powerful, and I think it becomes less so in these situations if there is collaboration at some level. All that said, I still find it very difficult to ask people if we can make the photo.
Thanks, Ian. I guess "document" was the wrong choice of word, but I was just curious as to how you explained yourself. I, too, try to take that approach but all of my subjects are planned. I LOVE hearing their stories and getting to know them before I photograph. I've wondered about how to approach random people. After you make the portrait, do you then get the model release with their address so you can mail a copy? I have been diligently collecting model releases since Kyle's class last fall.
On another note, do you find that you take more than your normal three exposures now that you are digital? I remember your telling me one time that you just take three exposures and that's it.
I should be better about those model releases. When I go to South Africa I have been diligent, but less so in Butte.
Let's see, I think I made 5 frames for the image of Frankie, so a few more than I usually make with the 4x5, but certainly not over the top. I have also been hand-holding which is no good. For me I am not happy when the camera creates a barrier between myself and the model. The camera is very heavy and I have been using 50 ISO (dynamic range starts dropping as you increase ISO). So the image that I posted here has very slight camera shake from using 1/60.
Still getting used to the it. It is very different from what I am used to. So far I have made up to a 30" print that looks great, but am having trouble pushing it to 40".
Was in Butte photographing today. Met Frankie who is an awesome motor-cross racer. Notice the broken wrist. One in a long line of injuries.
7 comments:
Haha...made a spelling mistake on the last one so here I go again:
Hey Ian. I like how your watermark is barely noticeable. I keep debating on whether or not to use one here. When you approach people to photograph in Butte, do you just explain that you are working on a project to document the town? Are they all receptive?
Haha...made a spelling mistake on the last one so here I go again:
Hey Ian. I like how your watermark is barely noticeable. I keep debating on whether or not to use one here. When you approach people to photograph in Butte, do you just explain that you are working on a project to document the town? Are they all receptive?
I try to take the Alex Soth approach, get to know someone a little before you pull the camera out. Generally, the people I have met in Butte have been extremely friendly and keen to chat abouth their lives. Usually I can find some common interest to talk about. For this portrait, I met Frankies dad first and we chatted for about half an hour (about Frankies long list of achievements and injuries) before I asked anything about taking a photo. For me, this is the most enjoyable thing about portrait photography that I have just recently come to realize. You really get to know something about a person that you never would have otherwise (if the intent of making a portrait was not there). I do not say I that am doing a documentary project about Butte (I am not sure I see it as a "documentary project"), but rather ask if they would be willing to let me "make" a portrait with them. For me it is important to approach it with the idea of "making" a portrait and not"taking" a portrait. The camera is inherently powerful, and I think it becomes less so in these situations if there is collaboration at some level. All that said, I still find it very difficult to ask people if we can make the photo.
Thanks, Ian. I guess "document" was the wrong choice of word, but I was just curious as to how you explained yourself. I, too, try to take that approach but all of my subjects are planned. I LOVE hearing their stories and getting to know them before I photograph. I've wondered about how to approach random people. After you make the portrait, do you then get the model release with their address so you can mail a copy? I have been diligently collecting model releases since Kyle's class last fall.
On another note, do you find that you take more than your normal three exposures now that you are digital? I remember your telling me one time that you just take three exposures and that's it.
I should be better about those model releases. When I go to South Africa I have been diligent, but less so in Butte.
Let's see, I think I made 5 frames for the image of Frankie, so a few more than I usually make with the 4x5, but certainly not over the top. I have also been hand-holding which is no good. For me I am not happy when the camera creates a barrier between myself and the model. The camera is very heavy and I have been using 50 ISO (dynamic range starts dropping as you increase ISO). So the image that I posted here has very slight camera shake from using 1/60.
Still getting used to the it. It is very different from what I am used to. So far I have made up to a 30" print that looks great, but am having trouble pushing it to 40".
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