Marty Rosamond

Xmas Family Photo Challenge

2009-04-25T14:38:00.000-07:00

For the past twelve or thirteen years, it's been a tradition of mine to spend Christmas night with my friend Chris and his family. Early versions of the gathering usually culminated in round after round of Sambuca shots until yours truly was reduced to an incoherent mess, heaving into a mixing bowl, desperately trying to pass out on the couch. Good times.

Chris' family is great: lots of wonderful faces, stories, laughs, love, etc. As far as extended families go, you couldn't ask for more. I live near to Chris and his wife Bozena, so I'm always photographing them but for the past couple years I'd been wanting to find a way to work my camera into one of the gatherings with his whole family. This last Christmas (2008) I got my chance.

Art (Chris' dad) had his circa 1980s Minolta SLR out for the occasion with a flash on the hotshoe. It was a sweet rig for its time: auto everything with a TTL flash so all you have to do is point and shoot. In the couple times I've held the thing, it has mystified me. I can normally pick up a camera and figure out how to turn off the auto features and set the shutter speed, aperture, and ISO manually. But, the design of the camera is very 1980s, with plenty of square silver buttons that did nothing I wanted them to in the few minutes I poked at them. In my defense, Art had the thing set up for his way of shooting and I didn't want to screw up his settings and not be able to put them back, so I left well enough alone and stuck to the camera I brought (a Yashica Electro 35 GT).

At one point, later in the evening after dinner, Art asked me if I'd take a family portrait in the living room and handed me his Minolta. I sorta panicked but figured I'd fight through...I'd just leave it on auto everything mode and blast away with the flash on top...perhaps bounce it off the ceiling. Yeah, that will look sharp. Let the camera do the work! As I familiarized myself with the camera for a minute will everything convened in the living room, joking and working themselves into 'picture mode,' the camera started to malfunction. The flash wouldn't fire. I tried again. Nothing. I gave it to Chris (who was standing nearby). Still nothing. Art was called over and he couldn't get it to fire, either.

This was my moment! I had a small lighting kit in the trunk of my girlfriend's car...not something I carry with me everywhere, but she and I were leaving town to go ride out the last few days of the year in Utah with my mom and step-dad, and I wanted some gear with me for whatever might come up. I'm glad I had it because this was my chance to do a couple things: Get some pictures of this great family, and work quickly in a small strobe scenario to get the results I wanted. First I had to determine what it was I wanted...as I dashed out into the blistering cold high desert night to grab my gear from the car.

I should probably mention that all I had with me was a 35mm film camera: I'd brought with me my trusty Canon AE-1 Program—given to me on my birthday by my late father in 2000—and I had a ZipLock bag full of expired Kodak Gold 100 film. Lighting-wise, I had a bag full of Sunpak 333 and 383 flashes, a flash meter and a set of Pocket Wizards...plus stands and umbrellas.

That's what I had to work with, so I knew I had to keep my lighting pretty general. I wasn't going to be able to chimp the LCD and fine tune a multiple light set up like I can with my digital SLR. I figured I'd stick with one light to keep things moving quickly, plus there were a lot of people in Art's living room, so I wanted to keep the amount of gear to a minimum. I knew the ambient light in the living room was not going to factor into this shot because it was far too dim and I was working at ISO 100. In order to get any ambient light into the shot I would have needed very long shutter speeds, which would not have worked in this situation. Again, trying to work quickly, plus there was a six-year-old in the group and getting her to sit still for a one or two second exposure wasn't going to happen. Because my ambient was going to be so low compared to the strobe, I knew the shadows were going to go black...nice and dramatic but, thanks to the 1/4 CTO gel I put on my Sunpak 333, I was able to achieve a warmth that brought a coziness to the drama of the large lighting ratio. I put the light up high and shot it through a 42 inch shoot through umbrella, which went a long way to mimic the directional, semi-soft light source you might find in a living room. This helped the shots look natural to the setting and everyone was really happy with them. They made a great present to Art on his birthday a couple weeks after Christmas.

I'll gladly call that a successful shoot.

Technical details:

Camera: Canon AE-1 Program
Lens: Vivitar Series 1 28-90mm f/2.8-3.5
Film: Kodak Gold 100 (expired 2003)
Strobe: Sunpak 333 w/ 1/4 CTO gel
Modifier: 42 inch shoot through umbrella
Trigger: Pocket Wizard Plus
Camera settings: 1/60, f/4 and f/5.6, ISO 100
Scanner: Minolta Scan Dual II with VueScan

What would I have done differently?

I was working very quickly, trying to joke with everyone and keep the energy up while I set up. I normally overexpose color neg film by 2/3 of a stop, which I forgot to do here. I should have shot that Kodak 100 at ISO 64. I was able to lighten the skin tones and put them where they need to be with Photoshop, but when you underexpose color neg film the grain gets more pronounced...even at ISO 100.

Canon T90 - Is it OK to love a camera this much?

2009-04-13T21:07:00.000-07:00

After trying to convince myself for about a year, I recently found a gentleman in Reno, NV who buys Canon T90s worth saving, rebuilds and sells them with a nice little warranty and everything. Considering how much a full frame Canon digital SLR costs these days (something I have little to no intention of buying any time soon) I think the tiny sum I paid for this new old camera is insanely cheap, especially considering that it's got everything most digital SLRs have in them today (save, perhaps the video camera showing up in newer model dSLRs).

Released in 1986 and manufactured for only about thirteen months, the T90 represents the zenith of Canon's manual focus camera line up. The next SLR they produced was the auto focus EOS 6XX series (650 and 630). Everyone was going auto focus in the mid to late '80s, so Canon changed their lens mount and left thousands of Canon shooters standing with their zoom in their hand; none of their manual focus FD and FL lenses would mount on these new EOS cameras which raised a bit of a stink among Canon loyalists. A lot of people to this day can't believe Canon did and got away with it. I can't even imagine what it must have been like at the time to have thousands of dollars invested in lenses and camera bodies, only to have your camera company of choice turn your world upside down by basically saying, "If you want one of our new cameras, you'll need to drop some coin on new lenses, too. It'll be worth it...they're newer...better...faster...."

What makes the T90 so special? First, you have to consider its features in the proper context: This camera was introduced in 1986 when cameras, by comparison, were square and looked like your dad's SLR. Canon brought in a German industrial designer named Luigi Colani, known for his work designing sports cars for Porsche, Ferrari and Lamborghini. Gone are the squared off edges and corners, replaced by smooth curves that invite you to pick up the camera and use it. The deep hand grip and LCD display on the camera's right shoulder first appeared on the T90 and became the template for Canon's SLR design from that day forward.

But, looks aside, the T90 made several leaps forward regarding the features Canon packed into their cameras. Up to this point, most SLRs they made had horizontal focal plane shutters that would only sync with a strobe unit at 1/60 of a second (the earlier T70 does sync at 1/90). The T90's precision metal vertical-travel focal plane shutter allows flash sync at 1/250—now the industry standard on just about all pro-level SLRs. If you don't shoot with strobes, this number means nothing to you, so I'll just say it's pretty damn cool.

Additionally Canon packed in several other features like three metering modes: full frame averaging, center-weighted averaging, and a 2.7 degree spot meter. They also loaded it with a built-in motor drive that advances the film at one of two user-selected speeds: Low at 2 frames per second or High at a blistering 4.5 fames per second. Most consumer level digital SLRs on the market today still can't touch the T90's highest frame rate.

In their efforts to appeal to the widest range of shooters possible, Canon also built the T90 with all the requisite Program and Auto shooting modes people had come to expect in their cameras at this point in time, but none of those features interest me much as I tend to shoot almost exclusively in Manual mode (save the few instances when I want to pick up the camera and grab a quick shot with no time to take a meter reading). I bought into the T90 after using my Olympus dSLR showed me how much more control I can have over my creativity with something as simple as a spot meter and a flash sync higher than 1/60. The motor drive is just gravy and not something I tend to use all that often, but it's nice to know it's there for those times when a sequence shot is the only kind of shot that will do.

I'm a couple months into shooting with the T90 and I have to say this camera is a joy to work with. It didn't get its nickname "The Tank" for no reason; it's solidly-built, has plenty of weight and when shooting with it you know you're working with a piece of precision photographic equipment. So far the images it's helped me create have been wonderful. Included here are a few images from the first shoot I did with the camera a couple days after receiving it. My sister and a good friend of ours share back to back birthdays, for which they usually combine their efforts and celebrate together with a low-level gathering of good friends new and old. This year I commandeered a corner of a spare bedroom and set up a couple fluorescent Home Depot shop lights to produce sort of a poor man's bank-o-Kino Flo ala Martin Schoeller. I went through six rolls of film over the next few hours as the set took on a photobooth vibe.....but with me deciding when to go click. I captured very cool shots of a bunch of incredible people...shots I still need to go through and edit down to the absolute best of the best, then figure out what to do from there. 11x14 prints for everyone!!!

The specs for these shots are: Canon T90 with a Canon FDn (New FD) 200mm f/4. I was shooting mostly Fuji Superia X-tra 400 film rated at ISO 250. This was giving me f/4 at 1/125...so I had the camera on a tripod quite low to the ground so I could crouch and shoot everyone seated in a comfy chair. I quickly ran out of the Fuji 400 and had to switch to Fuji HQ 200, which I had to shoot at 200 because I couldn't afford to go any slower with my shutter speed for fear of getting too many blurred shots as people laughed and interacted in front of my lens. Also, f/4 is the max aperture on that 200mm, so I was letting in as much light as I could. Normally I like to shoot color negative film 2/3 of a stop overexposed to open up the shadows a touch, but I couldn't do that with the Fuji 200. Shooting it at ISO 125 was out of the question. As a result, the grain is quite heavy in the three-quarter tones and shadows of the shots taken with the 200 at 200. The 400 at 250 is probably just as grainy, so what can you do? I think the 400 would be even grainier at 400. It is consumer-grade film, after all. Upon seeing these shots, I recently had someone ask me why I bother shooting with consumer-grade film and I didn't really have a good answer other than, 'It's cheap.' I don't like spending more than two dollars for a roll of film at this point in my career. A dollar a roll is even better!

LumoPro LP120 - The Flash I Helped Design

2009-03-12T17:50:00.000-07:00

OK, so it was me and a few thousand fellow memebers of the Strobist group on Flickr, but the features LumoPro built into the just-released LP120 are what everyone in the group was asking for. This new strobe is aimed squarely at followers of the small flash movement (aka the Strobist movement..the result of David Hobby's evangelical efforts, and his great legs).

The specs break down thusly (taken from MPEX.com...the only retailer I could find carrying the LP120 at the moment):

GN: 80 (True value, no EV compensation inflation, equivalent to Vivitar 285HV)
Swivel: 270 degrees
Tilt: 180 degrees
Zoom: 28mm, 50mm, 85mm
Wide Angle adapter: Yes
Sync ports: Miniphone and PC
Shoe: Standard ISO size, center pin contact, locking ring
Optical Slave: Yes, Switchable On/Off
Power Variable: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32
Power: 4 AA (Alkaline or NiMh recommended)
Warranty: 2 years - International

I won't go through these line by line, but there are a few LumoPro included that really show they were listening.

First: There's no AUTO Thyristor feature on this flash. You don't need it. These things are all manual. You're in control of the amount of light coming out it, just like a studio strobe. Cool.

Second: The sync ports they built into the LP120 are exactly what needs to be included on this type of flash. Curse you Sunpak and Vivitar with your proprietary sync jacks. The PC connection has been the standard for the photo industry for how long, now? Well played LumoPro for including a PC sync. And, the inclusion of a 1/8" miniphone sync means if you're near a RadioShack, Target, WalMart, K-Mart, Fry's, CVS, Rite Aid or Walgreens and one of your sync cords dies (along with all your spares) all hope is not lost. 1/8" miniphone to miniphone cables are commonly available, commonly inexpensive and commonly the sync socket of choice on all types of wireless triggers on the market today. This means you don't have to drop thirty dollars on a proprietary sync cable that will only work with one specific kind of flash. Thirty dollars for a cable you're going to ball up and stuff into your camera bag at the end of the shoot. Thirty dollars for a cable that is going to break, eventually, no matter how good you treat it. Instead, in some dark corner of the www, you can probably find an electronic components retailer that will sell you a bag of twelve for ten bucks**.

At $130, I'm thinking the LP120 will quickly find its way into the Strobist gear bag of many a shooter seeking the zen of the small flash.

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**Disclaimer: I haven't actually contacted Ametron and asked if they sell miniphone cords in bulk, but I have been inside the place and wouldn't be at all surprised to learn they do. Cool store.

Holga - The serious toy camera I was reluctant to take seriously.

2009-03-10T04:06:00.000-07:00

I bought a Holga about eight years ago. A good friend had just started working at a now defunct dot com here in LA where he was exposed to the world of toy cameras by one of the site's designers (an incredible photographer in his own right). A pool of money was collected, many Holgas were purchased and that's how I was introduced to the Holga 120S. I quickly bought my own at Freestyle Photo a few days later but I never ran a complete roll of film through the thing.

Flash forward to February of 2009 and I finally completed a roll! I even processed the film in my sink. It had been sitting in my Holga for about three years before I finished off the last four frames a couple weeks ago.

There were some gems on there I have no recollection of taking. At some point I stuck a flash in the hotshoe and took the thing with me to a rehearsal with my band, Weed Patch. The negs were scanned using the transparency adapter on an Epson Perfection 1200U Photo.

I promised myself I'd shoot with my Holga a bit more now.

Updated site and exciting film news.

2009-03-06T16:05:00.000-08:00

Wow, it's been over a year since I posted something here. What a shame! I've actually still been shooting and working...some of which is featured on my updated website. I went with a clean, uncluttered approach with a brighter overall feel than I had previously. I'm happy with its simplicity. It lets my work speak for itself...for better or worse.

Oh yeah...photography. Right. I've been shooting a lot of film lately, forsaking my digital cameras for all but those situations where a check is waiting for me at the end. I'll spare you the digital-vs-analogue discussion because for anyone who uses both, it should be obvious where both shine and where they don't.

Early on, my biggest reason for shooting more film was simply that I never really got to know it. I've taken pictures most of my life–working to achieve more professional results over the past four years—and I didn't want to take my new-found enthusiasm to the digital world without getting to fully know what film has to offer. I'm glad I did this because I've really grown to love film, specifically color negative film. The tonal range you can squeeze onto a frame of color neg film is a beautiful thing. I know you can get into the HDR (High Dynamic Range) thing with a digital camera and build images that cover an incredible tonal spectrum, so my argument isn't that it's impossible to do this with a digital camera, but I will argue that it's impossible to do it in a single frame on a digi cam. HDR images are combination of as many as three or four images, taken at different exposure values, then combined with computer software to produce an image with a spectrum of tones from highlight to shadows that digital cameras are incapable of capturing with a single click of the shutter. Print neg film isn't capable of producing this range of tones, either, but when you hit that sweet spot with your exposure settings, it gets close and it's quite lovely.

Kodak seems to think there's still some life left in the old film horse; they've recently released a new color neg emulsion called Ektar 100. The comparisons immediately being made are that it produces images comparable to those produced by a digital camera at ISO 100...virtually grain-free with great saturation and sharpness. Very cool. A great example of how digital cameras have changed what photographers expect in terms of image quality. I haven't shot any of this stuff yet but I'm planning on picking some up any day now. I'll post the results here.

"O' Death, Won't You Spare Me O'er For Another Year?"

2008-02-08T01:07:00.000-08:00

One of my clients (Rural Rhythm Records – a record label specializing in classic bluegrass music) asked me to come over and spend the day taking pictures for upcoming CDs releases. The owner's father-in-law, Joe, is the gentlemen pictured here. He has the perfect look for the bluegrass market so we had a blast putting him in various traditional bluegrass scenarios all day....ending with him dressed as Santa Claus playing a banjo for this year's Christmas release. But, that's for another post.

This shot was done in my client's backyard where he's got a wonderful old shed that's literally about to fall over, if not for the system of 2x6 boards propping up one side. Totally cool.

Joe had the wardrobe down and we knew we wanted a "hands to God" pose for potential use on a gospel package, so I stuck Joe in the shed and got this great shot.

It's lit with a single Sunpak 333 strobe, camera right, fired through a 42" shoot-thru umbrella. The sky that day was very overcast and the sunlight was very soft and flat, so I set the strobe to fire at one stop over the ambient light. Because of the angle of the flash to the subject, I knew I wasn't going to get any harsh shadows on his face, but I wanted a nice aggressive fall off to black in the space behind him. Seemed to work out perfectly.

The image has been colorized in Photoshop to give a vintage, Depression-era feel.....in tune with the look of the great Coen Bros. movie O' Brother Where Art Thou?

A Two-Year-Old and the Hottest Day of the Year

2007-10-25T16:00:00.002-07:00

A friend of mine asked me to take a picture of him, his wife and their son for Grandma's 60th birthday. I had no idea Labor Day 2007 was going to prove to be the hottest day of the year.

We knew we'd need to keep the shoot brief as the toddler's attention span was good for about fifteen or twenty minutes, if we were lucky. Turns out, it was good for about ten minutes, but only in thirty second bursts, so I had to move fast. I had the lights set when they arrived and everything was ready for them to just step in and go. We tried for the traditional family portrait but the shot at top was the one that is hanging on Grandma's wall.

One thing I felt pretty bad about was how hot it was in my studio that day. I couldn't believe it. After about ten minutes of trying to pretend that we weren't all sweating like crazy, I brought a fan in to put low in front of the family, which made for quite a few fly-away hairs that needed to be cloned out, but the benefits of the airflow were very much worth it.

All in all it was a great session and they got a shot they love. I was told it made Grandma cry. It doesn't get much better than making grandma's cry, does it?

The Rare and Elusive Pacific Parrotlet

2007-10-18T03:00:00.001-07:00

My girlfriend's bird, Chico, had his first birthday a few days ago and she asked me to fire up the lights, camera and the action to see if we could get some fun images of him outside in one of the trees around our house.

The odd thing about this picture is that it was taken during the day. Open shade provided most of the lighting here—you can see raw sun sneaking in on a branch about half way up the far right side of the frame—then, in an attempt to simulate the golden "magic hour" lighting sunset is so famous for, I placed a strobe behind and to the left of the tree. This produced a yellow line down the left side of Chico and added to the leaves a great combination of gold and green. The background went dark because I was working at a somewhat fast shutter speed (1/125) combined with a very closed down aperture (f/14) all at ISO 200....so the already dark ambient light in the deeply shaded porch was considerably underexposed.

Very little was done to this image in Photoshop: This was taken with a digital SLR, so I pumped the color saturation a bit to simulate the Fuji Velvia film popular with wildlife and landscape photographers.

This shot came together pretty quickly and actually ended up looking very close to exactly what I'd envisioned as I hurried to set up before Chico lost interest in the whole thing. Turns out, he was pretty mesmerized by my beeping camera and the flashing yellow light behind him.

Nydia got some shots she's quite happy with and it was a nice little exercise for me to see how quickly I could conceptualize a lighting scenario using the available light as my key and produce a great image. Success!

Thanks for reading.

A new hope...

2007-10-02T13:43:00.001-07:00

Well, it's been quite a while since I staked my claim in this little corner of the blogosphere...and look at me with no content to speak of. For shame!

"Marty, don't you know everyone wants to know your deepest thoughts, poured out into cyberspace on a ritualistic basis? To blog is to live, yes?"

Yeah, not sure about all that. I've never been one to keep a journal but I definitely see the merits to doing such a thing. And, what better place to keep this journal than out there in public!?

So, here's my first official entry:

*tapping pencil on desk*

Yesterday, I reconnected with a friend I hadn't spoken to in several years. She recently divorced and was catching me up on what's been happening in her life the past three years or so since we last spoke. She's fun and energetic and a blast to talk to, and I was sharing with her a little self-analysis I've been doing lately.

I've known this young lady since high school, back in those carefree days when you could make seven thousand dollars a year and still be upbeat about things. Somewhere between then and today, I lost a step. I lost some of that come-what-may spirit I used to possess back in those days. It's got to be the weight of the world and the responsibilities that go along with being an adult that are clouding my view of who I was back in those days. In some big ways, I feel like a much different person than I was back then, but in some other very big ways I feel like the exact same person I was back then.

In light of all this, my goal of late is to get through this cloud obscuring my view of who I once was and tap into that youthful creative energy. Easier said than done, but I'm determined!