Year: 2020

PERSONAL WORK – 2020

Followers of my blog know that at the end of each year I post a series of three personal images from a non-assignment single location.

In 2020, I took on even more commercial photography, along with some unique automotive editorial projects. That meant my personal work was even more important to provide some balance in my life.

So, I made a solo sojourn to the Palouse in Eastern Washington state in the spring of 2020 when the state’s Covid-19 restrictions opened up briefly. Here are a few of the images I made on that journey.

Happy Holidays!

THANKS PANO!

It’s a sincere honor to be awarded a cover feature in Porsche Club of America’s national magazine, Panorama.

In the December 2020 issue of Panorama Magazine, there’s a 16-page story of mine that goes behind the scenes for a photoshoot of the Emory Motorsport’s AWD “AllRad” 356 Outlaw.

In this article, I explain what goes into all my professional photo sessions. Photo tips are listed, some secrets are revealed, and a lot of fun ensues when Rod Emory coasts down a pre-planned route without a working engine!

Thanks to Rob Sass, Amy Skogstrom, Richard Baron, Vu Nguyen, Allen Lane, Doug Lloyd, and Emma Smith at the PCA!

Panorama Magazine.

PHOTOGRAPHY EQUIPMENT

As a full-time pro for over 30 years, the gear I take on assignment depends on what is needed. Contrary to what it might look like, I prefer to work with the minimum amount of equipment.

Being familiar with the gear is most important to me. To that end, I’ve always carried some form of Canon or Leica in my kit. With their cameras and lenses, I don’t have to think. I just do. When Leica discontinued their 35mm SLR film-based system, I switched to autofocus Canon EOS 35mm SLRs.

Around the same time, I also switched from Kodachrome 25 to Fujichrome Velvia 50 slide film. When digital camera image quality evolved to a more than satisfactory level, I transitioned to Canon’s full-frame digital camera bodies and their latest lenses for my editorial and commercial work. I’ve stayed with Canon’s latest DSLR offerings since then for my professional assignments.

My Basic Automotive Photography Kit For Stills and Video:

Canon 5DS-R body and Canon 5D Mk IV body
Canon R5 mirrorless bodies (2) with adapters and spare batteries
Canon 16-35mm f/4 IS EF lens
Canon 50mm f/1.4 EF and 250 D close up lens
Canon 24-105mm f/4 IS EF lens
Canon 70-200mm f/4 IS EF II lens
Canon 1.4X Extender, 12mm ext tube
Samsung Galaxy camera phone with DJI Osmo Mobile 6 and mount
ND and polarizing filters
MacBook Pro M2 with memory cards, readers, Samsung and Lacie Drives

Other Stuff (as needed):
Voigtlander 40mm f1.4 MC VM with adapter for film work
Canon 500mm f/4 IS EF lens for motorsports
DJI Drones
DJI Ronin Stabilizers
Audio recorders
Harness, camera car mounts, walkie talkies, monopods, tripods, cable releases

For flash, the Profoto portable lighting system has proven reliable for studio shots and moving subjects outdoors. All flashes can fail, just like memory cards and external hard drives, so I also carry two, plus a spare flash tube. The lighting kit also includes C-stands, reflectors, gels and a variety of modifiers and soft boxes.

Spare bodies include (2) Canon 5D MK IIIs. Spare lenses include a Canon 24mm f/1.4 II, 35mm f/2 IS II, 50mm f/2.5 Macro lens and a Leica 80mm f/1.4 R lens with adapter. My filming assistants also have access to a dozen extra lenses from my 15mm fisheye to 180mm telephoto. More options for manual focus video include 21mm f/1.4, 28mm f/2, 35 f/1.4, and 50mm f/1.1 lenses.

Photography equipment is simply a tool. Seeing and having something to say are MUCH more important. That said, I look for gear that is of the highest quality, easy to use, and has characterful rendering.

After the shoot, the used digital memory cards stay in a secure holder inside a zippered vest pocket on my person. As soon as I return to my hotel, the RAW files are backed up on my computer, Dropbox, and at least one hard drive. All drives are kept in different locations, or one is FedExed home. I love what I do, but I’ve also learned not to assume anything.

P.S. My kit for vacationing and personal work is a digital camera, usually the Leica Q with its 28mm f/1.7 Aspherical lens and an Leica M9 with a 50mm f/2 Summicron. This is for pure seeing, shooting slowly and deliberately.

IT WAS ONLY A MATTER OF TIME – FLYING CARS

“The 1960s animated cartoon series – The Jetsons – is best remembered for its depiction of a future that just never seemed to get any closer (apart from video phones). And nothing about this future is more lamented than the prolonged absence of George Jetson’s flying electric car. The bad news: There are still no flying electric cars. The good news: Florida is building a place to park them.” Continue reading “”

THANKS FORZA – THE MAGAZINE ABOUT FERRARI

Thanks also… to garage manager Fred Russell, writer Jay Gillotti, and car owner Frank Mandarano (L to R), for making this recent Ferrari Daytona shoot so much fun.

Photographing two Ferrari 365 GTB/4 Spyders together is a dream come true for any car photographer. Only 122+ were made.

Look for this feature in the December 2020 issue of Forza Magazine! Continue reading “”

LOVE IS THE DRUG

Roxy Music’s 5th release Siren is arguably their best albums and could be considered one of the best glam rock albums ever, if only for the hits “Love Is The Drug”, “Both Ends Burning” and “Just Another High”.

Perhaps their finest hour, consistent and thematic, and released almost 45 years ago. All said, Siren has aged very well. Their last album Avalon comes close, although it belongs to an entirely more mainstream family. Continue reading “”