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July 28, 2010

iPhone Photos

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Nothing to see here, just showing some personal work shot and edited with the new iPhone4.

Last fall I posted a blog on five must-have photo apps for the iPhone, at the time I was using an iPhone 3G. I’m still currently using those five apps as my go-to photo apps, so naturally when I received my iPhone4 last month I wasted no time taking pictures with it and running all the photos through some or all of those apps.

I can’t speak for anyone else using an iPhone4 but I’ve been happy with mine.

July 18, 2010

BIG NEWS – We Have a Space

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It's been a long and winding road trying to decide where we wanted to set up our home base on this crazy adventure of being a self-employed editorial and commercial photographer. Without the safety net of a staff position we wanted to be sure we were making the best choice for us as a whole. In the end, we decided to set up our camp in the Upstate of South Carolina. Centered in the middle of Asheville NC, Charleston SC, Charlotte NC and Atlanta GA. After all, this is where our friends and families are.

So…

We've been breaking in the new studio space for the past few days. Located at 12 Rutherford Road in Greenville SC, close to downtown it's 1800 square feet, has 14-foot ceilings, and comes with two bathrooms and a dressing room. Having the space will allow us to start building sets, work when it's raining and have a place to educate and be educated. It gets us out of the coffee shops for meetings and gives us an opportunity to create our work under a controlled environment.

The above shots are from a white-seamless set up we did over the weekend with a few Upstate film and theater actors. With the exception of that last droid, that's yours truly.

Interested in a Studio Tour? email info(at)iancurcio(dot)com

June 29, 2010

Snowing in June

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Getting big portraits with little gear isn't as hard as you might think it is. You need a little imagination, that's all. The above image took all of 5 minutes to set up and execute. It was about 5pm, a 100 degrees and we were in the backyard. The below image shows the simple set up, a "28" Westcott softbox", "AlienBee 1600", a "Vagabond" and a box of instant mashed potatoes. It was also shot with a circa 1977 manual focus "105mm 2.5" lens that cost me about $100.

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April 19, 2010

The Light Factory - Workshop

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We had a great group of people come out for the lighting workshop in Charlotte this past weekend. We kicked it on the streets of Uptown for about 9 hours before calling it a day. A big shout out to Anthony and Sarah for hanging out and modeling for us while we explored different lighting techniques and to the security guard who simply looked the other way and didn’t bother hassling us.

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April 06, 2010

12 Portraits of 12 Strangers on the Streets of San Francisco

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Before heading out to San Francisco last week to work on a commercial shoot, I had made the decision to work on a self assignment as well. You know, one of those GOYA assignments that are motivated by nothing more than the urge to create what you want to create with only the restrictions you've given yourself. And I gave myself plenty.

Working for newspapers and travel magazines I've always had to go out and shoot strangers in the streets. It's either grip and grins for the newspapers or low budget magazine assignments where they need someone doing xyz but can't seem to come out of pocket for a good model. Editors and DOPs are too often saying "just find someone who's already doing xyz and use them". It doesn't matter if it's someone shopping, cycling, dining in a restaurant, whatever; nine times out of 10 it's a stranger already in that situation. And it's our job as assignment photographers to be able to approach them, make them feel comfortable and get a great image out of it. In order to do that we have to feel comfortable ourselves and that's what this project was about.

So I decide that I would get up-close and personal with the different people of SF. My goal was to shoot 12 portraits of 12 strangers in 6 hours and I did it. Knowing that I wanted to be able to light my subjects if needed and I would be moving around the different neighborhoods alone and without an assistant, I chose my lighting set up carefully. I used one Speedlite attached to a monopod with no modifier, that was my set up.

I also chose to shoot exclusively with a 20-35mm lens. I did this for several of reasons; first, I wanted to feel comfortable getting into their space and I wanted them to feel comfortable allowing me into their space, after all, that's what the exercise was about. Second, I wanted to be able to show some of the environment that each subject was in and the wide angle allowed me to do that. Third, being close to my subjects allowed me to easily light them from above or the side holding my Speedlite on the monopod. And forth, I walked around the Mission, Castro, Haight-Ashbury and Golden Gate Park without ever allowing any of my gear to leave my hands. It was very minimal, a camera in one hand and a light on a stick in the other.

It did and always does get easier as I went along. I found that about half the people I approached would say yes while the other half would say no and of the half that said no, all of them were very polite and respectful about it.

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March 11, 2010

Barter Much?

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One of the things I enjoy the most about providing a service is that I have the option to take advantage of the barter system. As a photographer, especially for aspiring photographers, bartering can be a great tool. It's a great way to add to your portfolio and it's the perfect way to hand pick your assignments. Don't misunderstand me here, this is not shooting for free or undercutting other photographers, this is a straight up trade; my service/product in exchange for your service/product. I've bartered, a year's worth of haircuts for me and my family, I've bartered a credit to some of the best farm-to-table restaurants around, I've even bartered plane tickets and vacation time across the country and they're all assignment I'm proud to show, blog about and put into my portfolio.

February 10, 2010

Feeling Your Light

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I've been looking at photography like music lately. I've heard musicians say they can hear the sound in their heads but they're not satisfied until they can get that same sound to come out of the speakers. Well I feel the same way about lighting a photograph. There are times I can see the light in my head and I'm not satisfied until I can see that same light in my prints. As photographers we need to learn to "feel" our light, much in the same way a musician "feels" their music.

No doubt we need to have our technical skills down. A musician doesn't just pick up a guitar or sit down at a piano and start producing timeless music without an understanding of the chords or notes, without knowing what A, B, C, D, E, F and G means. A photographer isn't going to pick up a camera and start creating mind-blowing images using flashes without an understanding of shutter speed, aperture, ISO, flash power and flash-to-subject-distance.

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And in the same way musicians forget about all those technical aspects of music when they're grooving along and feeling the music, photographers need to be able to put all the technical aspects aside when shooting and groove along as they're feeling their light. You don't think Jimmy Page or Elton John knows each note by name as they are hitting them do you? They feel those notes, they feel what is coming next, they aren't always thinking about it. It's true that not all great musicians can read music and I don't think it's necessary for all great photographers to be able to spit out math equations all day long either. We need to learn our tools and then we need to feel with them.

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I understand that can be easier said than done. I cannot tell you how many times I've been trying to find my groove when lighting something and I just keep failing at it miserably. It's during those times I start to doubt myself as a photographer. I think I suck and I have no business trying to put my name out into the industry's wave of professional photographers. But the truth is that not even the best musician can walk into the studio and complete a Grammy-award-winning album in one take. Hours are spent trying to perfect those sounds, tweaking those rifts, changing this and changing that and lighting anything in photography whether it's a person, building, plate of food, whatever, is exactly the same. It takes time, practice, trial and error and in the very end, even the most perfectly-technical lit picture isn't going to resonate with your viewers at all if you aren’t feeling your light.

Disclaimer: I shot the above photograph of Radiohead’s frontman Thom Yorke at Bonnaroo in 2006 and did not light it. Those are stage lights and I was one of about 50 photographers stepping on each other for the first three songs.