Klyment.com - Journal

. . . I promise to have my studio fit for a shoot with three mainstream specification female models, makeup artist, hairstylist/stylist, art director, two assistants, and tag-along.

Shot of my "war room" table on Delta 400 pushed to 3200 in XTOL stock solution. Processing [mis]handled by Rico Moran.

Both images in this entry shot with the Zeiss Biogon 35/2 and the Leica M7. Same film and processing as previous shot.

Well . . . more like top 900. If you're not familiar with the Folding@Home project you should check out their website. In short, the project co-ordinates the spare computing power of many computers interconnected by the Internet to act as one single, loosely-coupled distributed super computer to help scientists understand protein misfolding-related illnesses. The headline diseases are cancer and Alzheimer's of there are many other diseases the scientists using this system research. Less interestingly, there is little evidence to support the conspiracy theory that Folding@Home participants are helping Stanford University develop biological weapons. There are also some arguments against running Folding@Home if you care to read through them.

I have a few computers around the city running various Folding@Home clients. The one's in my studio are running on a few overclocked Intel Core 2 Quad Q9550's (3.4+ GHz), an overclocked Intel Core i7 920 (3.7GHz), two Nvidia GTX 275's and one Nvidia GTS 250. The machines are left online so that automated off-site backups and maintenance can complete uninterrupted and without interrupting work during the day. These other processes are not computationally intensive so I might as well put them to work.

I first shot 310-DUMP over five years ago making the company my first commercial client. Before that I had only shot weddings and model and actor portfolio work. I met Greg Kirkwood, founder, president, and CEO, at The Standard when I was shooting an event at the night club. All I am going to say about that meeting was that it was an interesting and late night. Shortly after, Greg gave me a call as he had some freshly-painted trucks that he needed shot and so began our working relationship.

Fast-forward to 2009, 310-DUMP has been thriving for fourteen years and is primed to franchise. They select Nabeal Mansour's Media-Masters Creative Communications Inc. as the agency to develop a new website and a franchise package. 310-DUMP recommended me to their ad agency. The budget for the project was limited, Media-Masters is still considered a relatively small ad agency, we were shooting fairly late in the season to shoot non-seasonal-looking content, and the expectations were high but we prevailed as a team. I felt that we were often arguing but perhaps it is through strife that we realize our greatest work and I doubt that we could have produced a much better marketing materials for a service as base as waste management. Over a hundred person-hours went into model casting and planning even before any photos were taken and I can't even imagine many hours Matthew Fagnan - the designer behind the website and print elements of the project - spent to plan the visual elements and to work on the final assembly. While the product may seem simple, it represents the culmination of weeks of work by some of the most capable people in their fields with whom I have had the honour to work.

Concepts co-developed by Elizabeth Szabo and Nabeal Mansour with some input from Greg Kirkwood, Sam Soliman, and myself. Hair, makeup, and styling by Nikolas for the first day of shooting and we worked without aesthetics support for the remaining shoot days. Shoot assistant was Ethan Oblak for the entire project. The model list is huge and I don't have everyone's full name but if any of our models see this entry accept my sincerest thanks.

All delivered photos shot with the Nikon D3 and either the Nikon 24-70mm F/2.8, the 135mm F/2 Defocus Control Nikkor, or the 70-200mm F/2.8 VR Nikkor version 1. Shoot candids taken by Ethan with a Zeiss Ikon, Zeiss Biogon 35mm F/2 on Kodak Ektar.

Matthew's concept drawing of the interior of the franchise package folder. The booklet pulls out and reveals an unobstructed view of the house in the background. Everything is drawn to scale in relation to how it should look in the actual folder. The concept drawing made the end goal easy to understand but finding a house that was tall enough with enough lawn in front to allow for the proper placement of the elements required to print over the folder was nearly impossible. On top of all of this, because of the amount of space and the shooting angle required, ideally you'd want a south-facing house on a slightly overcast day but with blue sky behind the building. We settled for a nice house that was close enough and Matthew "grew" a fence and lawn and composited the family onto the lawn.

Matthew's concept drawing of the outside of the folder.

And a sample page of the interior of the drop-in booklet.

The photo concepts were meant to appeal to specific customer types who would be likely to use 310-DUMP's services. In this photo, Mike Isaak and Brandy act as the happy couple working on home renovations. Interestingly, 310-DUMP doesn't haul paint or any hazardous wastes but Elizabeth's idea to have the couple covered in paint and Nikolas' careful application of the found acrylic paint helped polish up the look of the shot. The photos were shot to allow as wide an aspect ratio as possible to minimize the amount of height consumed on the web pages they would be used on.

A franchise owner pepping his workers at the beginning of a new day.

An engineer and construction workers in front of a construction site.

Christine Hopaluk and another Matt (I hope that's his name) pose as customer and 310-DUMP employee finishing some paperwork.

Mother and daughter (who aren't actually mother and daughter) spending time together after booking full service waste pickup with 310-DUMP.

Most of 310-DUMP's full service residential bookings are made by women so most of the full-service oriented imagery feature women as the customers.

It's a lot of work getting back up after having settled into the ground for the right angle for a shot so Nabeal got down to have a peek. Of course Ethan had to choose the worst possible moment to snap a photo of us discussing composition.

The shot of the young couple renovating was made from a slightly higher angle. An adjacent home's white wall provided the necessary fill for this shot.

Sometimes we find the best camera positions in some of the most unlikely places. Ideally I wanted the shade of a tree right where our models would be but Garth did a great job standing in for one with the Scrim Jim and a blocking screen.

It seems as though Blue Willow Restaurant has been taking large but cautious steps to revamp their offering. Beginning with the build up of a concession trailer to offer specialized foods and desserts at outdoor special events to participating in the Rocky Mountain Food and Wine Festival, Blue Willow is now open for lunch with some Asian fusion menu options. Well . . . was open for lunch. After checking up on the restaurant it seems as though a curious staffing issue is temporarily preventing lunch serving but official speculation suggests that the lunch menu may once again be available sometime in March. Keep checking the Blue Willow Restaurant website to see when it does. Until then I hope that you'll be satisfied drooling over the photos. All delivered photos shot with Horseman #3, a Horseman L frame camera now owned by Adam Neufeld. Lens used was the Schneider Symmar-S 210mm F/5.6. Film used was Kodak Ektachrome EPP and instant film was Fuji's ISO 100 9x12 stuff. Film processing by ABC Photocolour in Vancouver. Camera and styling assistance, scanning, colour correction, and retouching by Sarah Chung. Later in the shoot, Ethan decided to join us and helped eat. Kitchen and candid photos were shot with the Contax G2 and 35mm F/2 Zeiss Planar on Fuji Pro Z and processed by McBain Camera's Kingsway location. Some of the candids were taken by Sarah.

It's been a while since I shot these but I'll try my best to describe what's in each photo. This is a chicken breast served on a bed of oriental veggie stir fry with a bit of "Chef Jason's Special Sauce." That's what they told me what I asked them what sauce that was . . . but it was delicious.

Sweet and sour chicken with a combination of stir fried and steamed vegetables and a side of fried rice. In the background you see the then newly-designed lunch menu. Typically I'd try to shoot with lens axis parallel to the table to maintain subject proportions but I was shooting more for something creative than something more explicit. A small amount of front tilt was applied to get the logo on the menu in focus.

Take 1 of the breaded pork cutlet.

Jean felt that the first take of the pork cutlet wasn't descriptive enough and had us shoot from a higher angle. We quickly re-plated, rearranged the table, repositioned some lights and then reshot. While this photo is no longer consistent with the other photos from this shoot I agree that it gives a better representation of the relatively flat pork cutlet and sells the dish better than our original shot.

Beef steak garnished with onions and lettuce with a side of oriental vegetables. Stan surveyed some of their steak eating customers about which sauce should accompany the steak dish. It seemed as though many serious steak eaters wanted to have HP Sauce with their steak so you get a choice of HP Sauce or a gravy.

The hands of Thomas (left, restaurant manager) and Jason the chef preparing dishes while we were set up in the VIP room with camera and lighting ready. While all food photography is challenging, Chinese food tends to be especially challenging because of how much of it is fried and because of how much of the food ends up looking brown and in small pieces. It's tasty but not always photogenic so we shoot as quickly as possible after preparation and certain other provisions have to be made to compensate for the food's unphotogenic nature.

I have some photography-related stuff for sale! It's mostly large format gear but there are some Nikon SLR-related items and some pieces of Bowens/Calumet lighting. Items are located in Edmonton. Thanks to Rico Moran for helping me shoot the product photos.

Here is the summary list of what is for sale along with prices in CDN dollars. US dollar prices are about the same at time of posting:

1. Calumet Caltar-II N 75mm F/4.5 Flawless glass, some non-function-affecting scratches to barrel, caps included. - $575
2. Schneider Symmar-S 240mm F/5.6 in Sinar DB mount. Optically flawless. Scuffs on DB mount and on lens board. - $225
3. Schneider Super-Angulon 75mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - $450
4. Schneider Symmar-S 180mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - $225
5. Schneider Symmar-S 210mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - $225. Or $950 for all four Sinar DB lenses.
6. Linhof Technikardan 45s - $1795 with choice of bag or standard bellows, $2075 with both bellows, $2350 with Calumet Caltar-II S 210mm F/5.6 and both bellows
7. Sigma 30mm F/1.4 for Nikon F-mount DX format sensors. - $395
8. Nikon 10.5/2.8 DX Fisheye Cleaning mark on front element that doesn't affect image quality. - $585
9. Bowens dual-cable ring flash with optional diffuser reflector and optional high intensity reflector. Kit value is about $1200US + shipping new - $850
10. Bowens/Calumet 2000W/s ellipsoidal reflector spot lamp head for Quad system - $450
11. Bowens/Calumet Universal Spot attachment - $295
12. Bowens QuadX 3000 power pack Functionally flawless. A few scratches on casing but far from ugly. - $1700 or $2300 with ring flash kit.
13. Minolta Dimage Scan Multi Pro multi-format film scanner. Conveniently scans up to 6x9 and other medium formats with results similar to the Nikon Coolscan 9000 ED.  - $1050
14. Hasselblad 90degree prism finder for V system (500 series bodies). - $50
15. Hasselblad compendium pro shade for V system - $50
16. Almost complete roll of Superior Seamless studio blue 107" (almost 9foot) roll of backdrop paper - $40
17. Elinchrom/Profoto Fiber Lite Kit micro light system. Older version and shows signs of use. Photos on the way. - $950
18. Bowens Fresnel attachment. Side dented but doesn't affect operation. - $495
19. 100foot spools of expired, cold stored, Kodak Edupe duplication slide film. EI 16, weird (fun?) colour casts. Enough for about 18 rolls of 36exp. - $18ea.
20. Microtek Artixscan M1 w/ Silverfast AI Studio (16/48bit . . . the good package) - $675
21. Sekonic L-508 incident/spot/flash meter - $250 (less than the price of a Sekonic L-358 which lacks a spot meter unless you add a $300 option to it)
22. Sekonic L-558 incident/spot/flash meter + compatible with internal Pocketwizard flash trigger - $325 (Probably still cheaper than an L-358)
23. Sekonic L-758DR incident/spot/flash meter including internal Pocketwizard flash trigger and is compatible with Sekonic's exposure latitude measuring system to give you exposure latitude warnings when metering scenes for the cameras that you have profiled - $425. Here's Vistek's page for it but you could probably find it for about $50 cheaper at other stores.
24. 4x5 Fidelity and Lisco Regal II film holders with plastic dark slides. In my opinion the best double-sided 4x5 film holders and they are newer. $12 each. I have 20 that aren't spoken for. If you need them shipped I prefer that you buy at least 5 at a time and even better if you buy multiples of 5.
25. 35mm bulk film loader. Brand new. $12 each. I have 5 4 left.
26. Nikkor-SW 65mm F/4. 4x5 coverage with some movement or consider it a 75mm lens and just apply displacements afterwards by cropping your 4x5's. very easy to focus even with basic ground glass w/ Fresnel lens. Most cameras will require a bag bellows to focus this lens to infinity while still allowing movement. $390.
27. Nikon MB-D10 Multi-Power Battery Grip for the D300/D300s/D700 bodies. Allows you to unlock the higher frame rates of these cameras and use AA batteries of desired. Included in the package is the Nikon BL-3 which allows you to use Nikon EN-EL4/EN-EL4a batteries which were spec'ed for the Nikon D2h/D2x/D3/D3x. Great if you need a grip and are already shooting a D2X or D3X and have a D300 or D700 as a backup body - standardize on one type of battery and charger! Vistek wants about $340 for the grip and $50 for the battery adapter plug. $280 total for the pair.
28. Set of four brand new BF Goodrich G-force KDW version 2 performance tires. Y-rated (tested to 300km/h). 215/40r18. $550 for four tires. Canadian retail price is $900 for the set. Some of them still have original labels and all have at least manufacturer's sticker residue still on them. The tires are currently on a set of brand new Enkei RSV 18 x 7.5" 45mm offset wheels in anthracite. The tires can be removed from the wheels or you can buy the wheels for an additional $190 each. They are not available as a set because three of the wheels have universal 5bolt drilling and one of the wheels has a universal 4bolt drilling. That said . . . if you or someone you know is selling a single Enkei RSV 18 x 7.5" 45mm offset wheel with 5bolt (specifically 5x114.3) drilling in any colour, let me know. If it's in really good shape and anthracite I'd happily pay $300 for it. If in a different colour I'd pay $225 for it.
29. Canon HV20 MiniDV HDV camcorder. Includes a few tapes, two spare third party batteries, all original accessories and box AND the Canon DM50 microphone which is $140US plus shipping from B&H or $300 from Vistek. I selected this microphone because I wanted a microphone that was much better than the built-in mic but could be powered from the camcorder and wouldn't require an external cable to connect to a microphone input. The microphone is directional and has a switch to change its angle of pickup which is handy if you want to use the camera and have your voice picked up if you are doing a quick interview without a lapel mic or can be switched to just pick up audio from in front. $495 for the kit.
    

Calumet Caltar-II N 75mm F/4.5. It's about 20mm in 35mm terms and it was my primary architectural interior lens up until I picked up a Schneider 72/5.6 Super-Angulon XL. The lens is optically flawless but there are blemishes in the metal as illustrated in the following photos. This photo was lit with an older Calumet/Bowens optical spot lamp head (also for sale) for rim light and a diffused Bowens Softlite reflector with diffuser in the foreground on Savage Thunder Gray. Lights driven by a Bowens QuadX 3000 power pack (also for sale).

Rear view of the Caltar-II N 75mm F/4.5.

Close up showing condition of metal.




Shot with the Caltar-II N 75mm F/4.5 and the Linhof Technikardan.

The 75mm doesn't have the largest image circle of this type of lens but still has a big enough image circle to make some nearly impossible exterior shots. Here is a photo shot of the Uptown Estate building for Sylvie Perrault Architects of Montreal.

Schneider Symmar-S 210mm F/5.6 in Sinar DB mount. These photos are representative of the look and condition of the Symmar-S 240mm and 180mm in Sinar DB mounts so I won't post all of them but feel free to request photos if you wish to see them.

Symmar-S 210mm F/5.6

Rear view of one of the Sinar DB lenses. I originally purchased these Sinar DB lenses for use in studio and for architectural photography because of the shutter's system ability to mechanically time exposures up to 8s where I would normally have to manually time and trigger for architectural interior shooting. Furthermore, the shutter system makes Sinar handling in studio convenient since adjustments to exposure and aperture settings can be done from the rear of the camera and the shutter will also automatically stop down the iris when shooting. However, now I no longer own a Sinar camera or the shutter so I can't use these lenses anymore.

The Super-Angulon 75mm F/5.6 looks a bit different.

Rear view of the Super-Angulon 75mm F/5.6.