Forced Patience - by Mark Kitaoka

I'm always surprised how the majority of posts on photography forums focus primarily on 'gear' and 'which is better.' It's as if most people are vapor locked on what type of gear they purchase rather than improving their own skills. Yes, we all wish to improve our craft in creating images and gear is a part of that equation, but the amount of effort and discussion seems to focus on the exact opposite of what would improve one's own creation of photos. If the amount of effort on gear was placed into other areas, ah but I digress....

Like most photographers be they pro or amateur, all of us know the excitement of getting what we think is a great shot and the desire to share it as soon as possible. In this digital age that means displaying your work through some sort of social media or other form of immediate gratification.

But in the commercial photography world, immediate gratification takes a back seat to business needs and NDAs. So much of what we shoot commercially is shot with extended lead times to be of any value. Marketing materials are carefully planned months or in some cases years in advance. As such, once the shots are in the bag it's up to the client to decide on the imagery's strategic timing for public release. And because of that we're not allowed to display those images on our own sites or through social media. And by the time the images are released publicly we've been on to other projects for months. Whenever I receive a client's marketing materials, I've often forgot that I shot that session!

I have two separate client sessions in this article. One was for Dallas Symphony Orchestra and another was for Village Theatre's publicity for Les Miserables.


Dallas Symphony's Beets Campaign

The photos I display here were taken in July 2013 and released to the public in late Fall of 2013, about four months after I shot the "Beets Campaign" (Beethoven Festival) for Dallas Symphony Orchestra. Performances begin April 28 2014, almost 9 full months from when I originally shot the session. https://www.dallassymphony.com/season-tickets/single-tickets.aspx?ProductionType=9

About two months prior to the shoot, the VP of Marketing along with some of the Marketing staff and I began a conversation about the overall look, feel and messaging they wished to achieve with the imagery. Rather than presenting musician's in tuxedos playing music, the VP wanted a much more 'scandalous' look, one that coincided with the public's reaction to Beethoven's music in that actual time period. When written and performed his music was actually quite scandalous to the audience of that time. Music is all about emotion and the VP wanted a reaction to his campaign that would evoke emotion...and boy it certainly did and in a very good way!

We agreed that on location sessions would be much more effective than shooting the talent in front of seamless and then dropping them into graphics treatments. On location (I refer to them as 'onlo') is my favorite type of publicity shooting. Why? Well it forces me to be creative in developing the imagery by not counting on graphics folks to make the imagery have production value. The right location with the right lighting has a richness that just can't quite be replicated with graphics. Well at least that's my opinion... Plus I have to be both patient and think quickly on my feet about what the client wants and how I will execute it. The client developed Mood Boards and sent them to me so we could begin discussions on exactly the mood we wished to create for the campaign.

Most non pros have the impression that commercial shooters are able to scout locations months or weeks in advance and carefully plan out the angles, lighting and time of day to shoot. For me that happens on rare occasions and when that happens it's a true luxury. But in this case the VP simply said, "I'd like to shoot it over at the AT&T Center, I like the juxtapose of a modern building combined with period piece costumes we're using. We can look around at the locations when you get here." For all of these shots I had about ten minutes to scout each location around the building and then decide how I was going to light them and shoot them. Should I use natural light? Which camera will be the best for this job? If I need more contrast how many negative reflectors should I use? Do I want motion blur in the image, if so should I drag the shutter or use second curtain sync with a Speedlight? What gels if any do I need to match the ambient? Oh I'm shooting in front of windows, how will I place the light/reflectors/etc. so I don't get reflections or bounce off the windows I don't want? (No I'm not of the school that all those things can be 'corrected' in post. Getting it right in camera is my preferred method) ALL of these decisions are made quickly because we don't often if ever have the luxury of time. If you've never been 'the talent' or the art director, try getting IN FRONT of the camera and you'll see what YOU consider to be a short amount of time while you are making your adjustments can seem like an eternity to your subject.

Les Miserables Publicity

This publicity session was what I called my "First Date" with this client for publicity. I had been previously hired by them to shoot production of another performance, but had never been hired to do publicity. The Marketing Director had seen some of my onlo publicity imagery for other clients and thought it would be great to do one for their production of Les Miz. In this case we took a day to drive around the area to look for just the right setting. I knew that the location needed to replicate the script, stone walls, old wooden doors etc. As we drove around the area I found a couple of "OK" locations, but nothing that really floated by boat.

So I made a call to my partner back in the Bay Area. We normally work together, but since we were double booked (when you're self employed I call that a 'pretty girl problem!') she was back home covering another client's session. I asked her to get on the Web to look for an old church or rock quarry. In about ten minutes she called back and said "All of the churches close to you are modern and won't do for what you're looking for. I checked out a rock quarry very close to you on Google Earth. I can't tell because the view is from their satellite shot straight down, but it looks like a a great possible for you. Here's the address. Gotta run, heading to the client shoot, good luck."

So the Marketing Director and I drove over to the rock quarry and I IMMEDIATELY fell in love with the venue. We spoke with the owner and he was more than willing to allow us to shoot there on the date we wanted for a couple of tickets to the performance. He even went on to say that if our date was when they were closed, he'd be happy to come in and open the place up for us.

So on the day of the shoot the weather was projected to be rain. The Marketing Director called me and said "Mark, what do we do if it rains, I'm nervous!?" I simply said, "If you can have three people there with umbrellas you don't have to worry." My plan was to have those three stand over my strobes with their umbrellas so that strobes and power packs were protected. I was actually hoping it would rain because I felt it would add to the ambient atmosphere of the shot and I've shot with my 1DX in full rain without a problem. On the day of the shoot, it did rain, but only lightly and the cloud cover was PERFECT for the session. For you gear heads I used PCB Einsteins and his Vagabond Mini power packs. Paul's lighting is my preferred studio strobe equipment.

Being patient means KNOWING your equipment front to back, no matter what type of camera/lighting you're using. Your client could care less if you're using a Nikon, Canon, Fuji or other camera or whether you're a Profoto fan or Uncle Bob's strobe user. They could care less if you're a full frame guy or gal, use a cropped sensor or not. The PICTURE tells the story and how well you know how to think on your feet, exhibit creativity on the run, keep the talent engaged and get a photo better than they ever imagined are elements that separate the men from the fan boys!

Whether you shoot for your entire income, are a 'semi pro' or just shoot for the pure enjoyment of the craft, be patient. For me that means taking the time to truly know your gear, all of it. Practice, read, experiment and have fun with what you already have. I get as much fun as the next guy when I want to buy something new. But the real difference is how I USE my gear, not what brand it is or its stats. To a client In the commercial world, you're only as good as your last session. They've trusted me with their whole marketing campaign based on my shooting style and consistency in delivering a great product. Practice, know your existing gear and develop a body of work. One great shot leads to a second great shot. The difference between a good or nice shot and a great one is huge. And that comes only through forced patience.

About the author
Mark Kitaoka is a commercial photographer located in the San Francisco Bay Area specializing in all aspects of publicity and live performance photography. Mark focuses on capturing high movement low light imagery so common to dance and theatrical performances. Publicity sessions, both in studio and on location round out his theatrical imagery repertoire. His commercial work includes national branding campaigns for PETCO/Pooch Hotel as well as publicity images for Disney Theatrical along with photographs utilized to attract Broadway producers. Regional credits include promotional material for Target’s theatrical matinee series and images used during the televised Tony Awards in 2011.

Three Types of Monochromatic Aberrations

During our last post we looked at the general ideas behind an aberration. These are distortions caused by light’s behavior while passing through an optical system (from object to image). They are broken into two major categories, chromatic and monochromatic. Before we dive into more detail, it is important to highlight that monochromatic aberrations are not limited to monochromatic light, but rather affect this type of light in addition to chromatic. Now, let us consider three of the most common monochromatic aberrations: coma, astigmatism, and petzval field curvature.

Petzval field curvature is an aberration that happens when a portion of light from a flat object is impossible to focus on to a flat image plane. Here, the object is where the light comes from, and the flat image plane refers to where we will see the image captured after passing through an optical system. Some systems, due to their curvature, have trouble focusing the flat object onto the flat plane. This is typically accounted for in camera lenses by adopting a curved, rather than flat, image plane.

Astigmatism is a term we hear often because it is a common trait of human eyes. As optical systems are in large part modeled after the eye, it is no surprise that optical systems also experience this same aberration. Specifically, an optical system featuring astigmatism means that it has two foci, causing objects and points  off the axis fail to be sharply imaged. 

Coma can be both a chromatic and a monochromatic aberration. As a monochromatic aberration, it refers to a distortion that might make objects appear to have a tail. This is a natural property of telescopes built with parabolic mirrors rather than spherical. The way light moves through the parabolic optical system can cause off-axis light source points to appear distorted. Specially tailored curvatures can mitigate the effects of this aberration.

These are just three of many monochromatic aberrations that camera lens designers must consider when building a functional camera or other optical system.

Lens Aberrations

In our last post, we looked at how aberrations are the root cause of the use of multiple lenses in constructing a complete camera lens. Today, and over the course of future posts, let us consider in more detail the concept of aberration. 

Most generally, aberration refers to the distortion of an image when passed through an optical system, such as digital camera lenses. Limitations of the system might lead to blurring. A common misconception about aberrations, however, is that they are caused by imperfections in the device or system. Rather, the real root cause of aberrations is in fact in the relatively simplistic and, therefore somewhat inaccurate, boundaries set by paraxial theory--that theory around which optical systems are built. To put it more succinctly, even lenses built perfectly to the specifications of paraxial theory will experience aberrations because the theory does not perfectly describe the behavior of light in such systems.

Aberrations can be broken down into two major categories. Those derived from geometrical structure and those derived from the effects on wavelength due to dispersion. Though shape and material are important to both categories, the shape will obviously play a larger role in the former, causing blurring, and material/density will play a larger role in the latter, causing shifts in coloration in addition to blurring. Geometrically derived aberrations are called monochromatic because they affect even monochromatic light, whereas dispersion-based aberrations are called chromatic because they are only evident in situations with multiple color variants.

Digital camera lenses correct for these aberrations and multiple subcategories therein. Soon, we will take a look at some of the ideas underlying the most common chromatic and monochromatic aberrations. 

A Lens Is More Than a Lens

The basic principle behind a lens is simple: the device mimics the eye, capturing and ushering light toward a processing center, one that is either immediate (digital) or delayed (chemical and film). Yet, the actual physical properties of light and the shape of a lens make the situation slightly more complicated.

First off, a camera lens worth its salt is rarely in fact just one lens. We call it “a lens” out of habit, but in most cases it is in fact a conglomeration of many lenses, referred to most commonly as lens elements. “Lens elements” as a phrase is itself misleading. In fact, the double meaning of the term "lens," referring to a camera part, and "optical lens," referring to any lens used for a variety of purposes, lends itself to a kind of linguistic and lexical problem: when referring to the parts that make up the whole, both have the same name. Suffice it to say that most camera lenses are not lenses at all in the most traditional sense, but rather are themselves a series of optical lenses collected together to make a more complex and precise device.

Why are there multiple lenses in digital camera lenses? The simple answer is that a single lens has what is termed “aberrations.” These are areas of the lens where light becomes distorted, either losing focus or distorting coloration, and in fact a host of other issues. The multiple lenses serve to correct these aberrations.

How Can You Create Instagram Effects Without an App?

Kate Bevan’s abrasive July article on Instagram’s role in “debasing photography” got the Internet riled. Her thesis that Instagram photos limit, rather than expand, photographic options was hotly debated over the following months.  Some echoed her opinion, while others dismissed it as a luddite’s desperation. 

Rather than weigh in, let us consider the film techniques hidden behind Instagram filters. Even though the settings can be produced with just one button push, they are, in fact, modeled after real photographs. This nostalgic underpinning serves both as the platform’s greatest asset, and also the key to creating similar images with actual film. 

For brevity’s sake, let us discuss the three most popular Instagram filter settings and how to reproduce them. 

According to Jessica Zollman, Instagram’s “Community Evangelist,” the most popular filter is Earlybird, a setting intended to look aged and softened. According to Helena Price, a professional photographer, the closest replica of this look is produced using a Polaroid SX-70 with expired Polaroid 600 film. 

The second most popular Instagram filter is X-Pro II, defined by radiant color and high contrast. To reproduce this effect, a 35mm Lomo-LCA with cross-processed Velvia-50 film should do the trick.

The third most popular filter on Instagram? No filter! As a test, see if you can figure out how to reproduce the effect on your own.

As for doing this instead with your digital cameras, and for the rest of the Instagram filters, you can always use Photoshop. Daniel Box has even managed to create Photoshop actions for each one.

A Look at the Benro S-Series

The tripod is an accessory no photographer or filmographer should do without. If you are having difficulty choosing which is best, consider the Benro S-Series, a new collection here at Super Digital City. Already a trusted name among professionals, Benro has been creating advanced tripods and heads since 2002. Within the collection we have the Video Tripod Kits, Video Monopod Kits, and Video Heads. What sets this collection apart from other tripods and monopods is the focus on video shooting as opposed to photography--thanks to fully adjustable heads, sturdy pan and tilt lock levers, and integral leveling platforms for smooth shooting.

The S-Series Tripod and Monopod Kits mark the "eighth-generation design of single leg tubes and flip lever lock mechanisms." The kits are available in aluminum alloy and carbon fiber, both providing rigidity and excellent torque resistance. The kits come in multiple sizes, and adjustable leg angles offer extra flexibility--even in tight spaces. Quick-lock leg levers allow for fast height adjustment, no fumbling required. How securely will it hold your camera? With several lock levers for adjustments, there is no need to worry about the safety of the camera.

As for the S-Series Video Heads, expect a compact and light-weight performance. They are built on a magnesium alloy flat base which is compatible with almost any tripod, monopod, ball adapter, or slider. But of course they are the perfect addition to a Benro product. A pan drag-lock lever allows the user to adjust tension and lock the head on a 360 degree pan movement, while a tilt lever allows for a full front to rear axis.

The Benro S-Series provides videographers with equipment ideal for any shoot. With quality products that offer smooth filming and easy adjustments, the hardest part will be deciding which model to choose.  

Protecting Your Photographs

We spend a lot of time talking about photography lighting equipment, shooting techniques, and buying advice. But now that you have taken hundreds of photographs, how can you protect them against copyright infringement? In an online, digital world, stealing photographs has become even easier. What steps can you take to protect your work?

• First, copyright your photos. In the U.S., no action is even required. It happens automatically when the photo is created. But, if you want extra protection, photographers can file photos with the U.S. Copyright Office.
• Photographers who have their own website can make photocopying more difficult with either hidden layers or tiling. Both require changes to your website's HTML code. To create hidden layers, place the image behind a transparent foreground image. The online image will appear normal, but when a user tries to save it, the file will be the blank foreground image instead. To tile, break the image into smaller image tiles. It will look like a continuous picture, but when a user tries to save, they will save one tile image at a time.
• Create a watermark to increase copyright protection and to receive credit even when someone uses your photograph. The only downside is that it can distract from the image, and if it is too subtle, it can be easily covered up.
• A watermark alternative is to create a frame around the photo with your name and other details.
• Store copyright information in the image file's metadata. This can be done through most picture editing software programs.

The best action is to quickly identify infringement and take action. You can search for your image on the web using Google's image search, TinEye, or Digimarc.