Black Peace Now in the land of The Rising Sun

What is Black Peace Now all about? It is actually a brand name An amazing and artistic idea brought on by a really great crew to work with, inspired by the opportunity for some published work. I think we succeeded in showing the diversity of the brand wear, to include the not so black pieces. Long, short, pant, goth or just plain cute. Black Peace Now is a well known gothic crossover clothing line started in 2001 in the Shibuya area of Tokyo, Japan. Successful, it now seems that Black Peace Now can be found in several locations as well as online. The main store is located in Shibuya's Mauri One building: 151-0062 Japan Former Yoyogi, Shibuya-ku, Tokyo, 33-8 Kimati Motoyoyogi Sansanbiru 1F 03-5452-8077

Upon seeing the clothing I decided that I wanted to try out the technique of having the clothing disintegrate. The process is actually a lot of steps, and I found a few of them on You Tube under photo disintegration. Typically I supply a lot of information about how I did the shots and what equipment I used. For this particular shoot, being overseas, I had to do a lot of improvising. I could only rely on the Nikon SB900 as a light source for location shots, and for everything else I used layers in post processing to get my lighting where I needed it. However I do not wish to short anyone who follow my lighting methods, so if you want to know how any one of these shots were lit, shoot me an email at info@bluestillphotography.com with the subject line: How was it lit, with the picture number selected (1-5) and I will reply with that information and perhaps update this blog with the information

Group F/64

Besides the fact that I have been missing in action for what seems like forever, anyone that is closely following my blogs know that I blog on what I am shooting and feeling at the moment. Therefore, this blog is going to be very technical, but very easy to understand. I am traveling at the moment and with long flights to overseas destination, you generally find time to catch up on some things like reading or organizing stuff. I had stumbled across an article on Ansel Adams, a photographer known very well because of his landscape photography. The article was short but left me very curious about Adam's methods and photography theories. As soon as I reached my final destination I started researching from my notes I had scribbled. I had never heard of one particular organization which Ansel Adams had pioneered but had to abandon due to his unrelentless schedule. Adams and six other photographers from the San Francisco area had formed an organization that became known as the Group f/64. I want to talk about what the group accomplished more so than the group members. I also do not want to get too heavy into citations (which would be necssary if I am going to include any borrowed information in my blog) Therefore to make it simple I italicized words which you can click on and it will take you to a link that will better explain it if this blog intrigues you. During the time period a method known as pictorialist photographic style had dominated much of the earlier 20th century. Pictorialism is basically a lack of focus which was said to give a photograph "life" as if the image is moving" today we might refer to it as blur. Group F/64 started a modernism movement against. Group f/64 is primarily about visual asthetics and sharpness to detail. Group f/64 is about pure or straight photography. No post edit, no filters (even some of Adam's earlier work which he used a red filter could not be included in the group). Straight from the camera. I have read forums where the fact is argued that no photograph is used straight from the camera ever. Well, that fact is now dead. I have posted my attempt at f/64 and I will have to explain how I did it because I do not have a lens capable of closing down to f/64.
Equipment used:
Tripod
Nikon D700
Nikon MC-30 shutter release
Tamron 28-75 f2.8 lens
How it was done:
 The most I could stop down on this lens was f/32 therefore I decreased my shutter open time by half of what I am assuming would be the normal amount time needed with a f/64 lens. I have no way of testing this theory to be true, so if anyone could prove me right or wrong, please do not hesitate to chime in. Aesthetically frame your shot, and use the mirror up option on your camera to eliminate any excessive vibrations during the recording time. Place your camera in bulb mode. Using the shutter release fire the shutter (this will bring the mirror up) and allow a few seconds for any movement/vibration to cease before firing the actual recording. Fire the shutter again to start recording the photograph and leave the shutter open for 1min 30 seconds. (the actual amount of time is going to depend on how much available ambient light there is, but remember you cannot use any ND filters or any other light modifiers or else you have technically eliminated the Group F 64 Process ). Perhaps my blog is all wrong in my calling this an Group f/64 and I can accept that. But the main objective is to enlighten those who argue that no photo is ever used without going through the Adobe/Leopard processes of today's highly retouched post edited photographs. The best part of it is the total relaxation and bounding with the environment you feel while you wait for what seems like an eternity for the shutter to close. That entire minute plus/minus of your life standing still.
Conclusion:
Look at the photo closely and notice how much detail is included, even though this was shot at 1:00 a.m., and even with the boat load of party goers which technically would be a total blur at any smaller aperture seems to have detail enough to tell what is going on at that exact moment when the shutter closes. Alright so I will call this Group f/32 with a 64 SWAG. No photo manipulation whatsoever.

Photographer Secrets....SSSSSHHHHH

Wow it has been a minute since, I have had time to blog. Typically I like to blog everytime I do a shoot, or right before one. I enjoy reading blogs actually because unlike magazine articles blogs tend to come more from the soul about how you really feel. So how do you really feel about secrets? I mean seriously, is there anything at all in the photography industry that is really a secret? I think I read about more secrets that sound or look like something I have already seen or probably done. Secret tricks, secret locations, secret equipment. I suppose that is also why I blog! To expose everything I am doing so no one need to wonder how I did it. Just about my only real secret is what I am going to do next, and if you follow my blogs you'll soon know that as well. The point is this: There are no secrets. I like to refer to photography as an art form. And art is created to be shared, observed and viewed by everyone. So why the secret?
There are a few photographers whom I have met from which I draw inspiration and motivation just from viewing their work or listening to them talk about a project they have worked on. In fact by the time these photographers finishing addressing a group or having a dialogue, I feel like I can pick up my camera and recreate exactly what they just spoke about because they share so much information about their work. I mean it's art. It's not 11 herbs and spices, or some kind of burger sauce, or Apple vault. There is nothing to steal and yet everything to enjoy.
I recently spent some time in the Nashville Tennessee and Fort Campbell Kentucky areas and I met people who for both of us were first time meetings, and in a very short period of time we have bonded into what will be lifelong friendships based soley off the fact that we each share a love of photography so great that we have either collaborated on something small during my time in the midwest, or we are collaborating on something of epic proportion in the near future. My recommendation would be that if you have something you consider a secret, you share it with someone. Maybe they'll humor you by pretending to be dumbfounded about how in the world did you do that? One of my favorite past times is to look at a photo and deconstruct the lighting, a very useful thing I learned from one of those photographers that inspire. You might not ever get rich from doing it, but it is a valuable resource to know. Humor me, it is a very valuable tool for the photography bag. So what is the purpose of this particular blog? To dispell all the secrets and encourage you to embrace the love of sharing your talents. Of course this is entirely my own opinion, but I am sure that someone reading this blog will either confess to being guilty of it, or have known someone who is  helplessly fooling no one but oneself, so there went the secret up in smoke.

Equipment used:
Black backdrop ( I use a black felt material purchased at Michaels when I want ultra dark background)
tungston light bulb reflected off  white wall to camera left.
gridded snoot used to backlight smoke placed off model's left aimed at smoke and face
Nikon 85mm f2.5
ISO 100
S/S 1/15th sec.

Today I recieved a message from the highschool senior; Ange Smith, whom I worked with on a school project where she was contacted me to shadow the day in the life of a photographer (See blog dated: 10/2/2011 Highschool photographer picks up on fashion) . Instead I put her in my shoes and let her deal with the client, arrange, the shoot, set it up, and actually experience the day in the life of a photographer by doing a fashion shoot. Ange Smith not only got a real life experience, she also got bragging rights when the client used her photos on their website to advertise. Ms Smith mailed me an invitation to her senior graduation followed by a text message that read "You've made a huge impact on my photography and my senior year" This text message made my day, and I am glad I was able to help her achieve not only her goal but also her aspiration. Ms. Smith I am honored. Bluestilling 101.

Up in Smoke

This was my second shoot with Chayniece J., and she was anxiously wanting to do something soon after her first shoot. Somehow we came up with the idea that we wanted to do something with smoke. This shoot confirmed for me that I have a good understanding of concepts because I had never tried to do a smoke shoot and yet the "how to" was hanging at the front of my brain; I knew exactly what I needed to do to get it. Chay being a big fan of Beyonce and Rhianna, got to hold the reins on styling this one and overall I think she did a pretty darn impressive job with it. As for the concept, I think she got the technique of cigar smoking down too. I am not condoning the use of tobacco but I would admit that Chay certainly makes it look glamourous.

How was it done:

A dark background is really necessary. I am using a dark red seamless paper for one set and black felt material as a backdrop for the second set.

My Lighting:

28 inch Beauty dish (not gridded) on boom high camera left (key light) @ f11

2 gridded (20 degree) strobes on either side focused on red back drop. (no light on the black back drop) f11.7

Small stripbox to models right on black backdrop and first red backdrop. (side light) f5.6gridded snoot on strobe to back light smoke. [back lighting the smoke is really important if you want to make it stand out. If you are not familiar with the term backlighting, it is simply placing the light so that when the strobe fires it will shoot through the smoke into the direction of the camera. It doesn't have to be a lot of light at all. If I recall I was at f5.6 for this backlight.

The Crane bird project

Merriam-Webster dictionary describes the crane as a majestic tall thin, wading bird with magnificent wing span. The model which I created this shoot exclusively for fits this description absolutely. And I imagine she will be wading in her own success because of her magnificent personality. For several weeks I worked on the details of this project. To include outsourcing, a first for me, the construction of a huge production of paper crane birds (see blog: Raising the Crane, Dec 29, 2011). Another important detail about this shoot was the hand-made dress, designed by Akari Kanazawa, also a model whom first introduced me to the dress back on February 16, 2011 when I did a photo shoot with her wearing it. The whole idea about the crane shoot came about from my browsing the London Couture Vintage boutique and seeing the crane feather hat. I immediately thought about that dress, and wondered how could I make the two items work together? However, what wasn’t working with me was the weather, delay after delay, incident after incident. Finally, unable to stand another delay, I cancelled the location shoot due to the pouring rain that just wouldn’t let up, and proceeded with shooting everything in studio. When my young model arrived with mom in tow, I knew this was going to be a good shoot. My young model is quite the comedian, but when it was time to shoot all the joking ended and she became the crane I needed her to be, nailing her poses so accurately I didn’t even bother checking the shot for several frames. Like a well rehearsed script she slips in and out of different poses and moods, with identical matches to what I am thinking, with my only having to give very little instructions. This girl is ready for the majors and you don’t have to take my word for it. Just remembered what I said here and watch what the fashion blogs will be saying. By the time the shoot ended, I was more than satisfied with what I had on my flash card.The first image is unedited. I have never posted an unedited model photo anywhere that I can recall other than to my hard drive, but that is how good I felt about this shoot and about this model.

Rags to Riches

My model is Chayneice Johnson; Chay for short. A newcomer into my arena. As with all newcomers I try to find their strengths and go into that direction with what, and how I will shoot them. My estimation is that I'll get stronger and stronger photos right? When I spoke with Chay and viewed her photos on the internet, she had a head full of natural beautiful hair. When Chay walked through the door my eyes went immediately to her hair.... cut. I loved it!! Jah (you all know who Jah is by now so I won't say my MUA anymore), and I had just been discussing finding a model with short hair and wanting to work with it. Here stood before me a girl with some height, some hips and this almost tomboy stance. I knew immediately what I wanted to do with it. Yet I knew I couldn't ignore Chay's other beautiful traits; poised, elegance, and this aura of "treat me like a lady" minus the diva attitude. She was 100% genuine and classy. If not a model, definitely a lady (with that splash of tomboy). This was my model for what I wanted to do, no doubt. I wanted to transform her, make her act like a boy, then bring her back to what she really is. As Chay and I talked and got to know more about eachother character, I knew she was going to have to overcome her shyness. I instructed Chay to wear something black and form fitting to the test shoot. I had her play with a few colorful scarves because I wanted to test out a lighting scheme I knew I wanted to use for my "boy shoot". This also allowed me to see how her face would look in that light and contrast that look with colors. I then dressed Chay in a male vest and cheap imitation leather jacket. She looked great in an outfit that cost about$5 at tops. For the next 45 minutes we had fun shooting, and I had a few other people come by because I wanted to work on Chay's shyness, and coincidently they happen to know eachother well. So now Chay was posing and getting into her zone in front of about 3 or 4 other people with only a small amount of nervousness. When I got home and looked at the photos, I loved them and posted a few online to see what kind of reviews and comments her look would get. Chay had become an overnight sensation. I knew our big shoot would be good.

Typically when I shoot, I also do some editorial video, but for this shoot I cancelled doing that for a couple of reasons. I wanted to keep Chay in her zone, and I also wanted my videographer, who is a unknown phenominal photographer that shoots more natural light and nature stuff, to use this opportunity to get more hands on with studio equipment and working with strobes. This also made Chay work a little harder because she was now posing twice as much as she would have been doing for just me. Gone was the imitation leather and goodwill test clothes. Chay now stood before us with perfect hair & makeup done by none other than Faces by Ja, and wearing a men style suit, shirt, and tie by Christian Dior. Chay pulled the look off flawlessly. As she did with all the other designer wardrobes she slipped in, and out of, ending the night in a very elegant, very sophisticated yet simple black dress. As simple as it had all begun for Chay, it ended that same way... wearing black.

How was it done:

4 light setup:

1 strobe light with red gel to model's rear

1 hair light strobe with blue gel and barn doors over models head camera right

1 snooted strobe to 45 degree angle aimed at model's face camera right (main light)

1 snooted strobe 45 degree angle aimed at model's chest camera left (fill light)

Camera settings: aperture: f11, shutter speed: 1/125th sec, ISO 250

Fashion shots:

86 inch parabolic umbrella about 10 ft away from model high camera right

350 watt daylight bulb high camera left

camera settings: aperture: f22, shutter speed: 1/125th sec, ISO 250

My amazing muse UnZipped.

" Having a muse to work with is like flying with a co-pilot. Any lighting schemes I am going to shoot have already been tested, any new look, I am going for, have already been tried, any sandwich on my plate, already have the grey poupon on it. My muse is the amazing Zipporah; Zip for short, and this is her unplugged, or shall I say Unzipped. No script, no rehearsal, just straight in the door and doing it her way." - Bluestill

Zipporah, and I got together to test out some light schemes, timing, and a few looks. Z asked me what should wardrobe be? I told her to just make it something fun and quick, because we had gone on a little shopping excursion a few weeks back, and this was a good time to see what we could do with it, however I didn't want to tie up her weekend night for too long. Of course Z arrived to the studio in muse mode, you know, not really sure what the look is going to be until she got completely dressed. Without my having to utter a word, once Z stepped on the seamless paper, she really get into character, and it's almost as if she is an entirely different person with each pose. This was suppose to just be a fun shoot but Z really gave some top grade poses and looks. I was expecting goofy but she reenforced my impression that she can do almost anything she puts her mind to. Here is what's so amazing about her; is that she is really shy in her own kind of way, and we'll go back and forth about an idea, but once she say "okay, let's do it", it is done and done very well. Then she slip back into her Zipporah mode, make a phone call "I'm done" and she's out the door, yelling on her way out "Love you Blue times a million". How is that for efficient? So Z this one is for you "Luv times one million".
How was it done:
This is a 3 light setup:
1 24x30 soft box for main light (high camera left)
1 silver bounce umbrella for side lighting (model left 3/4 meter reading: f11.7)
1 shoot through white umbrella model right aimed at backdrop meter reading: f11.7)
Camera settings:
aperture- f11
Shutter speed- 1/125th sec
ISO- 200
85 mm f 1.4
I love my prime lenses when doing
PROFILE PHOTOS were shot at F9
70-200 f2.8 everything else the same.