Parkour traceur Brent Steffensen at 1320 Main Studios Venice

Traceur Brent Steffensen at 1320Main Studios, Venice

Parkour traceur Brent Steffensen studio photography

Traceur Brent Steffensen at 1320Main Studios in Venice.

 

I had a unique shoot with parkour specialist (a.k.a. ‘traceur’) and gymnast Brent Steffensen this week at 1320Main Studios in Venice. If you’re not familiar, parkour is urban freerunning, in which traceurs move across typically urban landscapes by running, jumping and climbing over anything in their way. It’s pretty impressive. Check out Brent’s stunt reel to get a taste.

I first met Brent a month ago after photographing him as he was doing corkscrews for a television crew on a grassy berm by the Venice Skatepark. I was just out shooting street photography, not paying much mind to the fact that there was a giant obstacle course set up nearby where contestants were auditioning for American Ninja Warrior. Upon talking to him I found out he was a contestant. The program is based around an extremely challenging obstacle course competition in Japan. Qualifiers in the American version go on to compete in Japan, where few Americans have ever completed the course. That’s an okay description, but follow the link if you want to know more. Anyway, I’ve recently been doing more studio photography at 1320Main and Brent took me up on my invitation to come shoot sometime. To my surprise, when we finally hooked up he asked if I minded if a television crew from the G4 network came along to document the shoot for part of a day-in-the-life segment they were doing on him for the show. Sounded fun to me. And it was. Monday, a crew of 4, plus Brent showed up and we had a great time shooting him doing corkscrews and back flips in the studio and up on the roof. He’s an amazing athlete and it was fun just to watch him go airborne with nothing more than two quick steps. The only thing I wish we had more of was time, as the crew was on a tight schedule. But we’ll shoot again soon. I have several ideas that I think would combine to make a great series of images. And they tell me the show will air on the G4 network and possibly NBC sometime later this summer. I’ll be sure to mention it when I hear.

On a technical note (tune out here if you’re not a photo nerd), the only thing more that I needed was a faster strobe, particularly for the studio shots. Freezing motion with strobes is only possible if the strobes have a fast enough flash duration to only expose the subject for 1/500 of a second or less. This is particularly necessary when someone is doing flips, as the head and feet are whipping around at extremely fast speeds, in which case you need strobes with a flash duration of at least 1/1000 of a second. I shot this with a borrowed Calumet pack as key and my White Lightnings as fill, but I’m not sure that either were fast enough. Thus the motion blur on the feet. It’s not entirely a bad thing, as the blur gives a sense of him flipping through the air, but ideally I would like to freeze it. Should I have done this for a client I probably would have rented a Profoto rig or something similar.

The emperor has no clothes!

Portrait series from the Venice Art Crawl at 1320Main Studios

Here’s a favorite from a portrait series I did during a photo exhibit we held at 1320Main Studios during the recent Venice Art Crawl. Many more, and additional photos from the Crawl, are up on Facebook.

University of Southern California portrait

Susan Metros, associate vice provost at USC

Last week I photographed Susan Metros, associate vice provost at the University of Southern California, for a story in the Chronicle of Higher Education on the increased use of student-produced video projects as homework, sometimes in lieu of traditional written essays. Although I’m not sure about using videos as a replacement for writing, I do agree that it’s a good idea to go beyond passive media literacy to actually having students produce videos and think visually. And it’s become easier than ever, with the majority of students having computers and at least some form of video device in their possession. Unfortunately, the shoot took place after students were done with any relevant projects, so there was nothing actually happening that I could photograph. But we tried to make the most of it with an empty computer lab and some helpful assistants who logged into every computer for me and put them all on the same website. Here’s a link to the article if the topic interests you: http://su.pr/30S4vM

Gustavo actor portrait black and white

Gustavo

Last week I had an awesome shoot with my friend Gustavo in Venice. An actor who moved here from Puerto Rico, he’s a very charismatic guy who is a natural in front of the camera. I recently had a discussion with a prominent Hollywood portrait photographer about how most of my subjects I shoot for editorial clients are not used to being in front of the camera and often need to be coached in order to look natural. I told him how much I enjoy it when I work with actors and models who know what to do in front of the camera and can really bring something to the shoot. He works with a lot of actors and said I’d be surprised how many don’t know what to do in front of a still camera. Fortunately that wasn’t the case with Gustavo, who gave me everything from goofy faces to quiet, reflective moments and was even dancing for awhile. Word is he’s a very talented dancer and competed a lot back in PR. Despite getting some great expressions, this moment stands out as my favorite from the shoot. If you want to see more, I’ve posted them on my Facebook page. Go check ‘em out! And while you’re there, feel free to “Like” me so we can keep in touch!

I’ve also entered this photo along with two others in the Photo District News’s Faces portrait contest, which happens to have a People’s Choice award. Please take the time to go there and VOTE for me by following these links! Looks like you can only vote for one though. And if you’re super nice feel free to copy the links and tell others to vote. Thanks!

http://facesphotocontest.com/bin/Rate?image_id=1009411558
http://facesphotocontest.com/bin/Rate?image_id=1009411559
http://facesphotocontest.com/bin/Rate?image_id=1009411560

Robert Lobetta portrait

Robert Lobetta for Hair's How Magazine

Robert Lobetta

Robert Lobetta

Robert Lobetta

Robert Lobetta

Last month I had a great shoot for Hair’s How magazine with legendary hair stylist and artist Robert Lobetta, though nothing went as planned. We had been aiming to shoot at the LA Louvre in Venice, but when we arrived I wasn’t happy with the limited access they were allowing us. So, we started looking for another space and were fortunate to be able to arrange use of the Canal Club, a nearby restaurant, as our studio. With the restaurant not yet open for business, we had the run of the place and were able to produce some creative shots. Robert was a great subject, comfortable in front of the camera and willing to work with me to make the shots unique. And when I offered to show him the back of my camera – something I’ve become accustomed to doing either because everyone asks, or as a tool to help me describe what I’m aiming for – he refused to look, saying that doing so would make him want to take control and he wanted to trust in my vision. It was great to work with someone whose business revolves around image, but who was still trusting enough to let me do my work as I see fit.

I had also brought all my lights with me, expecting to use them. Robert has a great look and I had a preconceived vision about the type of portrait I was aiming for. But once we were inside I kept being drawn toward a couple of wonderful natural light sources and, despite unpacking my stands and a couple of strobes, left them untouched, opting only to use a reflector. I think it worked out well.

If you’ve got some time, hop over to Robert’s site. He does it all and has a ton of great work on display.

Pet Palace Las Vegas

Maryann Pascal and Lola, in front of Lola's miniature replica an Encore resort poolside cabana.

Last week I travelled to Las Vegas to shoot portraits for a weekend feature on “pet palaces” for the Financial Times. Not being a pet owner myself, I was unaware of the lavish trend of providing to-scale, miniature models of actual homes for your pets, but it’s apparently quite popular. The most lavish example cited in the article is Paris Hilton’s $325k, scale model of her own mansion for her dogs. Sounds reasonable. The owner of palace and puppy that I was to photograph was Maryann Pascal, an executive with the Wynn/Encore Hotel resort, whose dog, Lola, has the privilege of napping on a daybed that was custom made to be a to-scale miniature replica of one of the poolside cabanas found at the Encore Hotel. The cabana was a surprise gift to her and Lola from a couple of her clients, who got to know Lola as a puppy when Maryann used to bring her in to work. Quite a gift!

This shoot presented three or four obstacles that, mostly through luck, I was able to work around. The first was that working with dogs, as with children, can be hit or miss in terms of getting cooperation from your subject. Fortunately, Lola was incredibly patient and obedient and was pretty much happy to sit wherever Maryann put her. The rest of the problems revolved around a request from the editors that the shot be very colorful, which I thought would be no problem as you can generally count on Vegas to have plenty of blue skies and sunshine. However, I arrived to clouds and cold weather, and even worse, blustery winds that I thought would put to rest any hopes of shooting warm, colorful images outside. Add to that a giant dust storm that covered most of the 35 miles between the border town of Primm and Las Vegas as I drove in. Luckily, the dust cloud dissipated by the city’s edge and high walls around the backyard pool kept the wind at bay. To take care of the rest, I cut out most of the sky and warmed up the shot with a CTO gel, pretty well obscuring the grey reality of the day. So, it all worked out. After the shoot had wrapped and the files had been submitted I then had an excuse to spend a fun couple of days in town with Erinn and some friends.

Cal Lutheran Secular Student Alliance

Attendees of the Secular Student Alliance Southern California Leadership Conference pose for a photo in front of the Luther Statue at California Lutheran University

Evan Clark Secular Student Alliance

Cal Lutheran Secular Student Alliance founder and student body president Evan Clark

Last month I shot several assignments for the Chronicle of Higher Education. I always enjoy shooting for the Chronicle, because I get to meet fascinating people working in the numerous universities of Southern California, including leaders in cutting edge stem cell research and Academy Award-winning physicists responsible for the lifelike animation in the film “Avatar.” One of the more interesting of my recent assignments was for a story on a national leadership meeting of the Secular Student Alliance at California Lutheran University, a school of about 2,000 in Thousand Oaks, Calif. The event was brought to the school by the founder of the school’s first ever SSA chapter, Evan Clark, who also has the unique distinction of being the school’s first ever atheist student body president. The meeting centered around strategies that the chapter leaders at various schools around the country can use to run their chapters, peacefully spread their message and handle confrontations with those who don’t share their views. Although the day was pretty much a series of meetings (i.e. not visually stimulating for this photographer) the fact that it was taking place at a religiously affiliated school with the blessing of the administration was very cool and is something to think about. Should everyone be so open-minded!

Port of Los Angeles

Capt. Don Farrell, Port of Los Angeles Police

Last week I traveled to Long Beach to photograph Don Farrell, captain of the Port of Los Angeles Police, for a story in Government Computer News. The piece focused on his use of “unified communications” to coordinate the police force. Basically, that means streamlining all forms of communication between the officers into one platform that ties into each of their handheld PDAs. Each of them also have the ability to view and shoot video on the devices, giving each other a better picture of what they are talking about. The new system has apparently made a significant difference in how they patrol the massive 7,500 acre port. Behind him is the Vincent Thomas Bridge, an iconic symbol of the port.

Speaking of waterways, I spent this morning photographing Marina del Rey as residents, many of whom live on their boats, anticipated the arrival of the tsunami that emanated from yesterday’s massive 8.9 earthquake off the coast of Japan. Fortunately, the effect here in Southern California was minimal, with just enough of a swell to produce a visibly evident current in the marina’s normally calm waters. Northern California was not so lucky, and nothing can compare to the horror that deluged the northeastern shore of Japan. My thoughts are with them tonight. This definitely has those of us living in Venice and other low-lying areas of California reassessing our escape route should we suffer a similar fate!

Jesse Nikette VJ video artist

VJ Jesse Nikette

Two weeks ago I had a great time photographing Los Angeles-based VJ and video artist Jesse Nikette. I first met Jesse as he was standing in a dark doorway on Market Street, wearing hot pink glasses reminiscent of Star Trek’s Geordi LaForge (I had to look that up) and jamming on a silent piano guitar that, rather than play music, controlled video projections being thrown on the wall across the street. Photos from that encounter, which happened while he was participating in the Venice Art Crawl, are a few posts back. After that night I invited him over to shoot some portraits that incorporated his video creations. I wanted to shoot him because I thought his work was interesting and I have a few ideas about a series of portraits on local artists. On the night of the shoot he brought over his gear, which included a laptop,  a high-quality video projector and a few components I’ll, for lack of a better term, call thingamajigs, and we spent a good hour or two throwing up different projections and figuring out ways to incorporate him into the patterns. Most of his work was actually very colorful, and we even used a smoke machine at one point to cut across the light rays, but this one stood out the most to me for its graphic quality as well as his stance. It’s always fun shooting portraits just for the sake of doing it. It’s fun having the freedom to create without any guidelines and I’m almost always happy with the results. If you want to see more of Jesse’s work and learn a lot about video art and projection mapping in general, definitely check out his site, www.jessenikette.com!

Dick Flaharty conscientious objector

WWII conscientious objector Dick Flaharty, 90, at his home in Granada Hills, CA

Dick Flaharty conscientious objector

WWII conscientious objector Dick Flaharty, 90, at his home in Granada Hills, Calif.

In November I shot Dick Flaharty for National Parks Magazine and learned quite a bit about what it was like to be a conscientious objector during the various wars in which America has been involved. Flaharty, of Granada Hills, Calif., served during WWII as a smoke jumper in the National Parks Service. He was one of 12,000 COs who worked with the Civilian Public Service, which put COs to work doing jobs considered to be of national importance here in the U.S. The other 25,000 COs served  non-combat roles in combat zones overseas. Thanks to President Roosevelt, WWII was the first war that the U.S. had been involved in that didn’t persecute conscientious objectors, instead opting to put them to work. According to the National Parks Magazine article, during previous wars, CO’s had been imprisoned, tortured and, during the Civil War, even starved to death.

In order to be accepted as a CO and assigned to a camp, applicants were tested not only on their objection to WWII, but all wars under any circumstances. Only 37,000 of the 72,000 applicants were admitted, according to the article.

Now 90, Flaharty lives alone in a quiet suburban neighborhood 20 miles northwest of Los Angeles. He plays in a bluegrass band with members of his church and has photographs of children and grandchildren lining the hallways and sitting on a bookshelf next to a sofa where he spends much of his time reading. The same spirit that made him what he was back then is still obviously alive though. In his driveway sits a dark blue Prius, adorned with a bumper sticker commenting on fuel consumption. He may be the eldest of the 5 million Prius drivers in the Los Angeles area. And as you approach the front door there is a sign reading “Peace” perched in a window.

He also is part of an organization that keeps the history of the WWII COs alive and keeps track of surviving WWII COs. Despite that, all that remains of his time serving as a smokejumper is a folder containing a couple blurry black and white photographs and some news clippings, as well as a piece of discolored white fabric only a foot wide in either direction and torn on the edges. It is that of a parachute that once nearly killed him, before saving his life. It sounds like a story straight from a comic movie, but actually scary. During a jump to head off a fire, he told me, his chute didn’t open properly, leaving him plummeting toward the earth. I don’t remember if he said that it opened partially, providing some resistance, or whether he was falling at full speed. I think the former. What’s important is that at the end of the fall he found himself crashing through a thick patch of trees, when at the last second, his chute snagged a branch, bringing him to a sudden halt just before impact. He said he could touch the ground with his toes as he dangled there. Crazy! I tried to incorporate the material into the shot, but it just looked like a handkerchief. Oh well.

The article has just been published in the Winter 2011 edition of the magazine. Read it here.

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