Klyment.com - Journal - Photography

2012.01.23: Klyment's Garage Sale 2012 Q1

nospam@example.com (Klyment Tan) — Mon, 23 Jan 2012 16:48:52 -0500

A long-awaited updated list of [mostly] photography stuff for sale. Bowens system lighting accessories, Nikon accessories, Norman battery-powered lighting, bi-colour mixable battery-powerable LED light panel, Hasselblad V-system accessories, a Horseman LE 4x5 large format camera system, large format lenses in COPAL shutters and on Sinar DB mounts and lots of other cool things. The list summarizes the sale lots including those accompanied by pictures. Let's start with items we have photos for. All product photos shot by Sébastien Guillier-Sahuqué.

150mm F/5.6 Calumet Caltar S-II / Schneider Symmar-S, multicoated. $295.
72mm F/5.6 Schneider Super-Angulon XL. $1150
Hasselblad Proshade for V system with B60 adapter. $99.
Metered 30degree prism for Hasselblad V system. Offbrand. $35.
Hasselblad 90degree prism finder for Hasselblad V system. $150.
~~Sekonic L-758dr. $390.~~
Contax TLA30. $35.
Speedring for pre-IL2500 Norman heads. $35 + $5 for nylon adapter to convert to IL2500 mount.
Polaroid 545 back. $10.
~~Bowens remote for QuadX system. $95.~~
4x5 plastic sheet film holders. $12ea.
Horseman LE 4x5 monorail view camera chassis. $375.
Sinar synthetic wide angle bag bellows. Horseman compatible. $95.
Lightrein 24x33" soft box with 40degree Lighttools Soft Egg Crate. $195.
Lightrein 30x40" soft box. $125.
Lighttools 50degree Soft Egg Crate for Lightrein 12x24" softbox. $40.
Lighttools 50degree Soft Egg Crate for Lightrein 36x48" softbox. $135.
Lighttools 40degree Soft Egg Crate for Chimera small strip 9x36" softbox. $80.
~~Kino Flo Diva-lite 200 dimmable fluorescent light bank. Similar to this kit. But the B&H kit doesn't include tubes. This kit includes four daylight tubes and two tungsten tubes. $375.~~
~~Bowens Fresnel attachment. Side dented but doesn't affect operation. - $495~~
~~Bowens/Calumet ellipsoidal reflector strobe spot lamp. - $575~~
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.
35mm bulk film loader. Brand new. $12 each.
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 if 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. $250 total for the pair.
Schneider Symmar-S 240mm F/5.6 in Sinar DB mount. Optically flawless. Scuffs on DB mount and on lens board. - $225
Schneider Super-Angulon 75mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - ~~$450~~ $375
Schneider Symmar-S 180mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - $225
Schneider Symmar-S 210mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - $225. Or ~~$950~~ $750 for all four Sinar DB lenses.
~~Zeiss Ikon, silver - $950~~
~~Polaroid 4x5 film! Was refrigerated and not frozen. No expiration dates but the Pro 100~~

~~Polapan Pro 100 x 10sheets - $2/sheet~~
~~Polacolor Type 59 x 6sheets - $3/sheet~~
~~Polapan Type 52 x 10sheets - $3/sheet~~
~~Polacolor Pro 100 x 3sheets - $2/sheet~~

150mm F/5.6 Calumet Caltar S-II/Schneider Symmar-S multicoated lens in a COPAL #0 shutter. Glass is flawless and the shutter seems to fire all speeds accurately. Lens exhibits a bit of "Schneideritis" in the cement that adheres the elements to the lens barrels that should not affect image quality. $295.

Schneider Super-Angulon XL 72mm F/5.6. This lens covers 5x7 with a bit of movement or 4x5 with lots of movement. It's the holy grail of 4x5 interior architectural photography and I have one of these in my 4x5 system bag already. Glass in flawless condition. Shutter speeds sound accurate. There's a bit of wear on the finish of the exterior of the lens barrels that will not affect image making in any way. $1150.

Hasselblad Proshade with B50 adapter for Hasselblad V-system lenses. I believe the B60 bayonet is on the 80mm F/2.8 Zeiss Planar. This variable-length hood can be expanded or contracted to work effectively with a wide range of lens focal lengths. $99 and includes original box and documentation.

Metered 30-ish degree prism finder for Hasselblad V-system (500-series cameras). I think it's made by a Ukrainian camera company so it's NOT Hasselblad-branded. It's optically flawless and nice to use. The adhesives used to hold the leatherette to the prism have started coming apart. $35.

Hasselblad 90degree prism finder for V-system/500 series camera bodies. This one is Hasselblad-branded and marked "MADE IN GERMANY WEST" in the chrome mating surface. The exterior is in beautiful condition only with minor marks in the paint and the glass is flawless. $150.

Sekonic L-758dr incident/spot/flash meter with Pocketwizard triggering module. I have one of these meters myself and use it on most of my shoots. The integrated spot meter shows meter readings inside the spot meter readings inside the viewfinder without having to remove your eye from it and there is dioptric adjustability. Spot metering capability with strobes has allowed me to precisely confine a scene's exposure latitude to that of my digital cameras. I have the Sekonic exposure latitude test chart. If you can come to my studio with your cameras we can profile your cameras and upload the information into the L-758 so that you can use it to trigger exposure latitude warnings when metering. The meter is functionally flawless but has wear marks from normal use. $390.

Contax TLA 30 flash. Gives TTL flash metering capability on most Contax/Yashica mount SLRs and G system rangefinders though it'll be a bit ugly and cumbersome on a champagne-coloured G1 or G2. It'll come with a pocket softbox attachment for which velcro has already been applied. It can also be used as a manual off camera flash with full, half, and quarter power settings. $35.

Norman-compatible speedring for softboxes. The connector was designed for pre-IL2500 heads but can be adapted to the IL2500 with a nylon insert manufactured by Norman which I can include for an additional $5. $35 for the speedring.

Polaroid 545 back. Looks rough and it works! I believe it can be used with Kodak Quickload and Fuji Readyload film as well. $10.

Bowens QuadX remote control. Allows for control of all pack functions from over twenty feet. I no longer see this remote on Bowens' website or on Calumet's website so it may be discontinued. Really handy in large studios or with multiple packs or for lazy photographers. Accepts 9V alkaline battery. $95.

4x5 plastic film holders. While these are a generation or two old and don't feature the push-button dark slide locking of the newest holders I prefer the reliability and compactness of these holders. $12ea. If you aren't picking these up/need them shipped please purchase at least five at a time.

2011.09.11: Vicki, marsh near Edmonton

nospam@example.com (Klyment Tan) — Sat, 21 Jan 2012 19:20:20 -0500

Location scouting continues to be one of the most challenging parts of preparation for my photo shoots. Within a small centre like Edmonton with relatively little variety in publicly-accessible architecture a photographers needs to be resourceful and, sometimes, a little selfish. Resourceful in a sense of thinking of locations not just as backgrounds but about variables related to terrain and changes in elevation, geometry, and light-shaping. And selfish because there have been instances where an individual with whom you share location details or someone with whom this person subsequently re-shares this information violates common sense code of etiquette. Sometimes this lack of care for space I've shared even extends to outdoor locations. There have been a few instances in the past year where I have spent hours at private nature reserves fixing what appears another shooter may have disturbed with significantly damaged shrubbery off established trail areas, discarded clothing tags, and photography-specific tape along with less specific garbage. For these reasons I'm officially closing my location black book except to those who have original location information that they can exchange granting me access that I do not already have. If you have a location to share and would like to trade please contact me. Rant aside, location information for this shoot came to me indirectly as I was cast as an extra for a television show pilot shot around this lake.

Our primary objective was to secure a solid beauty-oriented photo for Vicki so the shoot's yield is heavier with tighter face crops. We also did this shoot before I acquired a faster-than-F/2.8 prime wider than 135mm for Nikon F-mount so we were a bit limited to what I could shoot with shallower depth of field. We have a completely different team this time: Jared Tabler was our fashion stylist; Nicola Gavins for hair and makeup, and Brenda Rains agreed to come on set for a bit of model direction and overall art direction. I was pleased with the images we created together. As with working with any new team there are refinements in synergies that we couldn't realistically achieve the first time we work together and I would welcome future opportunities to work with this group.

A shot from the second "look" this shoot and one of my favorites.

Probably not the best shot of Vicki but I found it more interesting than some of the photos in which she may have looked more beautiful.

We scheduled this shoot shortly after Brenda's suggestion to have her hair dyed darker. Nikolas did the dye job at Mousy Brown's. He decided to leave some of her natural colour as highlights.

A more static shot from the same set.

Slightly wider crop from the set but still shot with the 135/2 Defocus Control Nikkor.

Makeup artist/hairstylist and fashion stylist responding to the camera.

I liked the hair and styling and how this shot represented these two variables but there are several things I wish I had done differently for this image. Movement in the skirt could have looked more dynamic.

Shrub gobo.

More shrub gobo.

Many of us got our shoes soaked when trying to get these shots. The vegetation changed as you got onto the marshy areas and the only way to get the right angle was to be shooting from the same level of ground which would be equally wet.

Another variation.

2011.06.04: Jana's and Jascha's Wedding

nospam@example.com (Klyment Tan) — Fri, 09 Dec 2011 23:33:17 -0500

Though I may only understand 5% of the words spoken this day I felt no less a member of this event. We've photographed countless weddings and the love and closeness I feel that is shared with this couple and their guests is easily among the warmest and most overwhelming that I have experienced in my seven years as a photographer. Thank you, Jana & Jascha, for this privilege. We have become insiders amongst mere acquaintances . . . friends amongst our favourite photographic subjects.

I'm a little embarrassed that I only blog about wedding photographs when there is something technical and photographically-relevant to discuss. It's not that I am ashamed to admit that Dong and I shoot weddings even though our specializations lie in fashion and architecture or, in Dong's case, fashion and food. I don't know from what this embarrassment stems. Perhaps it has something to do with wedding photography being one of the types of recreational shooting that we do and by only semi-admitting our involvement in this market we can participate more as outsiders and, when we don't feel there is a good fit between what we offer we can comfortably recommend a solid list of other photographers the couple should consider.

Many of the digital images in this entry were reworked in Lightroom 3.x with a MIDI controller connected through Knobroom. I'm currently using the Akai APC40 controller which was originally designed as an Ableton controller. While it is robust controller with excellent tactile feedback in the sixteen control knobs if I were to buy another controller to use with Lightroom/Knobroom I'd like to try the Behringer BCF2000 with its eight motorized faders plus an additional eight perpetual dials. The motorized faders and the memory recall functionality on the controller would allow semi-hardware-based preset recall functionality instead of having to somehow program a software bridge with the APC40 as it seems to require the software to recognize its preset keys to recall banks of settings. Using a hardware controller and mapping functions like white balance, tint, exposure, contrast, black point, recovery, fill light, saturation, split toning hues and saturations and memorizing the feel and location of the physical controls allows the photo editor to experiment with many more settings adjustments in the same amount of time. It also speeds up making similar but not exactly identical adjustments in groups of photographs which share similar lighting conditions that vary slightly. Using Knobroom allows you to view multiple images in the Library view in Lightroom to fine tune images without needing to work with the rough controls you're usually limited to in the Library view. This makes conforming a set of images in a grouping much faster and more precise.

With all that said, Jana's and Jascha's wedding shoot was one that we fought hard for. And it wasn't just because Jascha is especially handsome (okay okay . . . Jana isn't bad looking either); it was because they are a really fun couple and I enjoy talking with them and spending time with them. Later I learn that Jascha is an aspiring photographer and kite enthusiast.

Shot in Mike Isaak's and Cody Tait's "secret" mossy forest location with the Nikon D3 and the 135mm F/2 Defocus Control Nikkor. An edited version of this image was delivered to the couple shaping the ill-fitting pants and vest. I brought some clips and did what I could. I'd suggest a fitted suit and shirt as opposed to a typical formalwear rental if you're picky but I'm still pleased with the image.

I always struggle with group shots but I felt this one was interesting and reasonably natural. 24-70 on the D3.

One of the earlier shots of the couple together when we reached the forest location. Shortly after Jascha would slip and fall gracefully into a bed of moss.

With the D3 and 24-70 F/2.8 AF-S Nikkor at F/2.8. Justification for never cleaning my lenses . . . more exposure latitude and ethereal glow without editing!

A variation from the setup in the first image.

Many more images after the jump.

Some of the photos from the engagement shoot last year. We shot at the site of an abandoned homestead north of Edmonton. First image was taken through the Zeiss 35/2 ZM Biogon and the other two with the first generation 90mm Leica Summicron-M on the Zeiss Ikon. All on Fuji Pro-Z 800 film rated at ISO 640 and scanned with the Nikon Coolscan 5000. This was to be my last shoot on the Ikon before selling the camera after I decided to keep the Leica M7 which I had originally purchased as a backup for the Ikon.

A shot of Jana's brother. Kodak Ultramax 200 consumer film, Leica M7, 35mm F/2 Zeiss Biogon.

Bizarre eastern European rituals for trying to get into the bride-to-be's home; Jascha's drinking milk to get a housekey.

Minutes before the wedding ceremony, Jana's father in the foreground and Jana excitedly waiting in the background. Leica M7, 50mm Leica Summilux-M Pre-ASPH, Ilford Delta 400 @ 1600 in Kodak XTOL @ stock strength. Scanned with the Nikon Coolscan 5000.

Part way through the ceremony in front of the alter in St. Joseph's Basilica. M7/35Biogon-ZM/Delta400@1600/XTOL.

Catching some ghosting with the Leica 90mm Summicron-M Pre-ASPH during the reception.

Delta 400@1600/XTOL/M7/35Biogon-ZM.

2011.08.21: Steph Del Alba's and Courtney Killips' Creative Photoshoot

nospam@example.com (Klyment Tan) — Fri, 04 Nov 2011 01:57:07 -0400

Steph's and Courtney's creative with Nikolas Syhatheb was a shoot born into ideological and logistical conflict. Mode Models' Michael Meneghetti (ha, alliteration!) expressed concerns over the value of "artistic" creatives in helping models land international work because many of these shoots tend not to give clients a clear view of what these models really look like. These assertions echo what Next Models' Brenda Rains had relatively recently help me to understand; in shooting model development creatives, dramatic makeup, hair, and lighting should take a back seat to seeking a model's natural beauty through the lens of a camera. It's actually a concept that I have casually attempted to help Harvey Miedreich understand during our first meeting and to be completely honest I still have my doubts that Harvey fully understands (are you reading this, Harvey?! ) I feel that this was a concept and purpose that Nikolas understood early on in his career and I only now understand. Why he often resisted doing a more dramatic application of makeup and instead opted to extract a model's beauty rather than modify it.

Back to discussing the logistical challenges. Nikolas' full time placement at Mousy Brown's seems to have helped him become a better hair stylist for photography and film but it also has made him become much less available. Sunday is now his only full day off which, unfortunately, has made creative shoot planning very inflexible. He booked me for a Sunday for a creative collaboration and I was under the impression that he had already spoken to the two models' agents about the shoot. I found out that Michael had yet to have been consulted (Friday) so I send out an e-mail which reaches him the Saturday morning before the shoot. Michael returns my request with an outright no and so I attempt to call Nikolas and fail to reach him on his cell phone because of the phone blocker installed at the salon. I panic and physically go to the salon so that I could ask him how to proceed and Nikolas' suggested approach was to make Michael aware that the models were ready to go and help him understand the difficulty we found to agree on a Sunday.

In the end and after a phone call Michael obliges. I feel that his concerns for approving a creative booking with such short notice is well-founded; by lengthening the pre-shoot planning time an agent can use this time to better prepare a model for a shoot and also help a photographer be more logistically aligned in the time leading up to the shoot in hopes of getting better images even though these casual creatives tend towards lower-concept shooting. With that in mind I was still glad that we were able to shoot together and even though we struggled with the idea of going so natural with makeup and hair there were photos we created this day that were unique and possibly portfolio-worthy.

While Nikolas prepared the girls I floated the idea of shooting only black and white film. If we could accept monochromatic images as the only deliverables shooting with only the Leica M7 and Toyo VX125 large format camera platform would prove to be a valuable photographic exercise. And so I loaded six 4x5 sheets of Ilford FP4+ and four 36exposure rolls of the same film and we left for the photoshoot location. You can also see Mode's blog entry with their favourite images from the shoot here.

I don't know why I like this image so much. It looks unlike anything I have ever shot before. Captured with a chrome/vulcanite/MP finder a la carte Leica M7 through the Zeiss 35mm F/2 Biogon ZM on Ilford FP4+ pulled from ISO 125 to ISO 32 in a 1+1 dilution of Kodak XTOL and scanned with the Nikon Coolscan 5000. Full res crops available upon request for tonality and grain structure evaluation.

Some earlier shots. To be completely honest I had absolutely no idea how to make this shoot work with this styling and with virtually no makeup and no styling product applied to hair and in the middle of the day. But part of the charm of working with black and white again is only needing to think about contrast and mentally discarding colour from your scene. In the last photo Courtney and Steph are having a laugh at my expense after my unfortunate tongue slip. I was nervous, okay?! Hahah.

We experimented with using one of the models as a background element in a number of photos. By pulling to ISO 32 we could shoot midday with lens apertures wide open even with fabric shutter of the Leica M7 limiting us to 1/1000s maximum shutter speed.

There was an assortment of ladders between the catwalks around this small water processing facility that I originally wanted to arrange and shoot a wider angle image but the geometry just wasn't working out. Still, with a bit of direction Courtney shot beautiful interacting with the single ladder.

I worked with Steph along recently-erected construction scaffolding. While there were photos of Steph making more contact with railings and pipes I felt that the shots where there was implicit interaction with the environment through the way lines intersect created stronger images. Photos shot through the Leica 50mm 2nd generation chrome Summilux-M at F/1.4.

Nikolas touching up makeup under an umbrella, giving Courtney a piggy-back ride back to the vehicle, and spritzing everyone with some vitamin water spray.

Taken on the scaffolding with the Schneider Symmar-S 135mm F/5.6 @ F/5.6 on the Toyo VX125. Scanned with an Aztek DPL-driven Howtek Scanmaster 4500 drum scanner. And I may have flipped this film when scanning it.

A shot from the Leica through the 35mm F/2 @ F/2 just to help give an idea of the difference in lens rendition between somewhat similar relative magnifications for each lens on their respective formats.

2011.07.22: Jenna's and Alex's Creative Shoot

nospam@example.com (Klyment Tan) — Sun, 23 Oct 2011 20:54:55 -0400

Until recently I only knew Next Models scout Brenda Rains through legends told by fashion industry veterans. Many know her as the agent responsible for helping make Mode Models Edmonton a player in the modeling industry in Northern Alberta and for being the woman with the fabled eye for undeveloped raw material with incredible potential. We met through Nikolas one evening at Lit the wine bar on 104 St. in Edmonton and we decided to stay in contact about working with some models she was developing. She held a casting at my studio and I invited Dong Kim and Harvey Meidrich to join Nikolas and me. And what Brenda brought us blew us away.

We used the former Red Strap Market which was formerly an Army and Navy and is now used mostly as a storage space by Gene Dub Architects during specialized construction projects like for the Alberta Hotel. The space presents so many possibilities due to its current state of disrepair. A side storage room with decaying floors and ceiling houses some artifacts from when the building was still the art market and furniture from some historical building projects. Each floor presents a different architectural and lighting challenge. And there is "unofficial" multi-level rooftop access.

I met Alex at a Starbucks two years ago and I continued to see him make my half-sweet-toffee-nut-white-mochas and one-pump-cinnamon-dolce-one-pump-hazelnut-half-sweet-java-chip-Frappucino-extra-coffee-sub-mocha-white-mochas fairly regularly without realizing his potential in front of the lens. Brenda spotted him and insisted that I shoot him. At first Nikolas and I booked Alex and Jenna to shoot on the same day but with the intention to shoot them individually. But Brenda decided to bring them together and coach them to move and pose together and after seeing some of her quick snapshots and seeing them on set together we knew that we had to shoot them together.

We had reasonable but high high expectations about many factors related to the shoot. The location was familiar and constantly evolving and while there was a certain level of familiarity with the space this familiarity only served to underline my fears surrounding shooting large format and fairly slow colour film in dimly lit rooms and with smaller battery-powered LED light sources if we needed any artificial light. With all of my lenses no faster than F/5.6 and with the only film options faster than ISO 160 were black and white we often shot at between half a second to two second shutter speeds. And it didn't help that when you tell a model to hold still their involuntary body twitching increases exponentially! In spite of the number of times I had used this location we continued to discover variants to spaces we had previously used or rooms we had never thought of using. And nature decided to throw us a completely new variable; water covering the floors of some of the rooms dripping through a rooftop two floors above. More photos after the jump. And there may still be a few black and white drum scans on the way from the first look . . . I still haven't processed all of the film yet.

One of the key images that I wanted to shoot with both models. With only Portra 160 on hand for colour film and with my desire to respect existing light and only enhance it with modest amounts of controlled light from an ARRI Locaster and a custom colour temperature adjustable LED panel we were shooting half second to full second exposure times even at F/5.6 on the Schneider Symmar-S/Caltar-II S 135mm F/5.6. [JADE GREEN] Toyo VX125. Scanned on the Howtek Scanmaster 4500 drum scanner driven by Aztec Digital Photo Lab Professional. Film processed by ABC Photocolour Vancouver.

Like the previous frame, this frame also suffers from a bit of motion blur due to the low light levels and slow speed of film but the slight bit of motion blur didn't negatively impact the final image . . . at least not for me. Existing light.

Some Fuji FP-100c45 9x12cm instant proofs.

In recent shoots I've become much more aware of existing light modifiers and how the existing location geometry can adversely affect lighting from one or two simple existing light sources. With this awareness and combined with designer artificial light sources like colour temperature adjustable battery-powered LED fixtures light modification is simple. Furthermore, using all continuous light means that any video footage shot on commercial assignments can more easily be conformed to the still photographs. Using LEDs have also allowed me to enhance dimly-lit locations for human actors/models without having to completely reconstruct all existing architectural lighting.

I took some frames with the 24-70 F/2.8 Nikkor and the D3.

And a couple frames of Alex individually. Nikolas had me search for an Amish-style hat which a costume store Justin Poulsen, my architecture photography partner, directed me to identified as a Zorro hat.

The only light source in this room was a window behind me that starts about a foot off the ground and terminates below eye-level for Alex.

And with window camera right.

I switched to the 60/2.8 Micro-Nikkor and tried to get as much camera and subject/background separation as possible for a series of images with both models in a fire escape stairwell in the north west corner of the building. Jenna's yield from this set was over 90% and she very easily created new poses and expressions for every frame.

We had mixed reviews of the hat . . . Brenda and a couple other fashion people seemed to dislike it but Nikolas and I liked it.

D3, 60mm F/2.8 @ 2.8, ISO 1600, 1/200s.

Alex looked a lot like Jude Law in several of his photos in the stairwell.

And uh, mandatory shirtless boy photo.

The last frame before I chickened out and pulled us all in from the rain for fear of water getting into the Leica.

Looking cold and wet.

Jenna after the rain.

We accessed the rooftops for a few shots during a break in the rain. The building's rooftop has three levels with top level accessible only by a wall-mounted ladder at the top of another ladder and the other two levels more accessible from the third floor and from an adjacent rooftop.

All rooftop images shot on Kodak Ultramax ISO 400 consumer grade colour negative film in the Leica M7. This photo shot with the Zeiss ZM Biogon 35mm F/2.

And with the 90mm Leica E55 Summicron.

To be completely honest I struggled a bit with what to do with Alex on the rooftop. I liked Nikolas' fashion styling even though it involved mostly Alex's own wardrobe if I recall accurately but I had difficulty interfacing his look with this part of the shoot location.

A couple more shots around the same HVAC.

Shot with the 50mm Leica Summilux at F/1.4 (I think).

I directed Alex to look a bit pensive and conflicted. This look wasn't exactly what I was going for and I admit to experiencing some difficulty describing what I wanted out of him but I still found this image interesting.

Grass growing on the roof.

Shot with the 35/2 Biogon.

A 35mm film frame of Jenna earlier in the shoot around the same location as the first frame in this entry. 90mm Summicron on the Leica M7.

Jenna the first time I saw her in my studio. Dong, Harvey, and I were immediately excited about her look.

And the first time we saw Alex. Again, I wasn't sure about his look until I shot him (after much prodding from Brenda). And after his first shoot I will forever be humbled in my opinion of my own abilities to understand an undeveloped model. I can't believe I didn't want to work with Alex sooner.

2010.02.12: Klyment's Garage Sale Part 1

nospam@example.com (Klyment Tan) — Fri, 12 Feb 2010 16:20:32 -0500

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:

~~Calumet Caltar-II N 75mm F/4.5 Flawless glass, some non-function-affecting scratches to barrel, caps included. - $575~~
Schneider Symmar-S 240mm F/5.6 in Sinar DB mount. Optically flawless. Scuffs on DB mount and on lens board. - $225
Schneider Super-Angulon 75mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - ~~$450~~ $375
Schneider Symmar-S 180mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - $225
Schneider Symmar-S 210mm F/5.6. Optically flawless. Scuffs on DB mount and on lens board. - $225. Or ~~$950~~ $750 for all four Sinar DB lenses.
~~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~~
~~Sigma 30mm F/1.4 for Nikon F-mount DX format sensors. - $395~~
~~Nikon 10.5/2.8 DX Fisheye Cleaning mark on front element that doesn't affect image quality. - $585~~
~~Bowens dual-cable ring flash with optional diffuser reflector and optional high intensity reflector. Kit value is about $1200US + shipping new - $850~~
~~Bowens/Calumet 2000W/s ellipsoidal reflector spot lamp head for Quad system - $450~~
~~Bowens/Calumet Universal Spot attachment - $295~~
~~Bowens QuadX 3000 power pack Functionally flawless. A few scratches on casing but far from ugly. - $1700 or $2300 with ring flash kit.~~
~~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~~
~~Hasselblad 90degree prism finder for V system (500 series bodies). - $50~~
~~Hasselblad compendium pro shade for V system - $50~~
~~Almost complete roll of Superior Seamless studio blue 107" (almost 9foot) roll of backdrop paper - $40~~
~~Elinchrom/Profoto Fiber Lite Kit micro light system. Older version and shows signs of use. Photos on the way. - $950~~
Bowens Fresnel attachment. Side dented but doesn't affect operation. - $495
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.
Microtek Artixscan M1 w/ Silverfast AI Studio (16/48bit . . . the good package) - $695 (Mine sold a while ago and I'd pick up another if I didn't already have a drum scanner. This scanner currently belongs to Rob and Lauren Lim. Guessing how much 4x5 film they had shot and judging from how they take care of their gear this scanner is likely in like-new condition. The price direct from Microtek recently dropped to $750 but shipping to Canada for such a large, heavy, and fragile piece of equipment is a pain. If I were in the market for one of these and was living anywhere in Western Canada I'd rather pick this one up than have one ship from Microtek.
~~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)~~
~~Sekonic L-558 incident/spot/flash meter + compatible with internal Pocketwizard flash trigger - $325 (Probably still cheaper than an L-358)~~
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.
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.
35mm bulk film loader. Brand new. $12 each. I have 10 left.
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.
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.
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.
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.
Leica M9, black, under 2000 actuations, $6295. Selling it only because it's black and I want a silver one to match my lenses and my M7. It's in like new condition. Includes all packaging. This price is about $1500 below Canadian retail.
Logitech Z-680 5.1 DTS and Dolby Digital computer sound system. Around 500W RMS amplifier output, outboard decoder with direct analog, optical and coaxial digital connectivity and remote control. $195.
Norman 200B battery-powered strobe pack with head. Settings for 50, 100, and 200Ws output. Battery is good for over 100 full-powered flashes. Head includes a dish reflector that works well with umbrellas and the head can be adapted to softboxes. $250.
Norman 12/12 power pack. Compatible with Norman 900 series heads (IL2500 included). 1200Ws. Two channel asymmetry. Each channel adjustable from 150Ws to 600Ws in thirty steps and the whole pack can be trimmed an additional three stops. Channels can be bridged to allow 1200Ws output through a single socket giving you a range from 19Ws to 1200Ws. 250W modeling light support with four sockets.
Fujinon-A 240mm F/9 in COPAL #0 shutter. Tiny, super sharp lens that pairs well with folding field cameras and I believe covers 8x10 with a bit of movement. Flawless condition and includes front and rear caps. $495!
Contax G2 autofocus interchangeable lens rangefinder camera w/ 28mm F/2.8 Biogon, 45mm F/2 Planar, and TLA 200 flash. Some rub marks on body that won't affect operation. Photos to follow. $975 for the kit. Loaded with Ilford Delta 400 to push to 1600 and with the TLA 200 this camera has part of the most fun I've ever had shooting a wedding reception.
Nikon D300 digital SLR body, 5200 actuations. Includes DK-21M magnifying eyepiece, original battery, original battery charger, 8GB 30MB/s Sandisk Ultra CF card. The original box is available but the camera is currently in Ottawa, ON and original packaging is in BC so you'll just be getting the camera and critical accessories for now and you'll have to get the box shipped to you later. $795. Seller is Ethan Oblak.
~~Nikon 85mm F/1.4 AF-D lens. Includes 77mm B+W MRC 007 (clear) filter - $895. Seller is Ethan Oblak.~~
~~Tamron 17-50/2.8 (non-VC) for Nikon F-mount cameras with DX format sensors. Includes 67mm B+W MRC 010 (UV) filter - $395. Seller is Ethan Oblak.~~
Nikon D700 digital SLR body, ~30,000 actuations, camera just came back from Nikon Mississauga and it's in virtually flawless physical condition. The D700 comes with all original packaging but the owner is currently shooting in Japan and I only have the D700 in my possession so you'll be getting one of my spare EN-EL3 batteries with the camera and without a strap first and upon his return he can send you the original packaging. Seller is Alex Adsit but you can contact me for this item. $1995.

More photos and discussion about items for sale in next blog entry.

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 and scanned with a Microtek Artixscan M1.

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.

2011.09.08: Rollei 6008 AF w/ Phase One P20 16bit medium format digital back and Schneider 80mm F/2.8 AF Xenotar for sale!

nospam@example.com (Klyment Tan) — Thu, 08 Sep 2011 14:21:24 -0400

The Rollei 6008AF with the Phase One P20 16bit medium format digital back and Schneider 80mm F/2.8 AF Xenotar is for sale again. It was my primary camera for fashion and catalogue work for about a year and images shot with this system still account for a major part of my portfolio. I sold this camera to another Edmonton photographer and 3D artist who owned the camera for a short while and used it on a single shoot before his living situation changed and has asked me to help him sell it. The kit includes:

Rollei 6008AF w/ internal electronic interface to connect to Phase One digital medium format backs
Phase One P20 medium format digital back
Schneider AF Xenotar 80mm F/2.8 w/ PQS 1/1000s leaf shutter (flash sync at 1/1000s with some of the most exotic out of focus rendition I have ever seen)
Rollei bayonet-mount hood for the 80mm
Rollei 19mm (I think) extension tube. Used mostly for product/jewellery photography.
Original waist level finder with a great pop up magnifier
Rollei 6000series 360degree rotatable 45degree prism finder
Brightscreen Accurfocus magnifier for prism finder
Fully-mated Arca-swiss style tripod plate
Two body batteries, one of which needs to be repacked with new cells (under $80 for the NiCd or NiMH cells and about ten minutes of work)
Two back batteries
Original chargers
Third party PowerEx/Maha battery charger that can charge both body and back battery and cycle nickel chemistry batteries
Original Phase One Pelican case for digital back which includes sensor care kit and lens cast calibration card

Don't get this camera if you:

have corrected vision is relatively poor or you notice halos in high contrast areas at night; this is an autofocus camera but I still recommend manually focusing it;
are looking for an ultra light system; body, back, and lens is about 5lbs total and you'll have to carry more batteries than you're likely used to;
"chimp" in studio; the transflective LCD looks amazing in direct sunlight but looks worse than a 2006-era low end colour cell phone display under indoor lighting conditions . . . but tethering works great with this system and the digital back can be bus powered over 6pin Firewire;
need a high ISO camera; the camera's ISO 800 works well but it's nothing compared to what you can get from some sub-$1000 offerings that are currently available.

You should get this camera if you:

love shooting 1:1 aspect ratio and realize how cumbersome it is to rotate a medium format camera to shoot in portrait orientation;
do a lot of black and white conversions;
shoot outdoors with strobes; the high speed flash sync is reliable and will give you four or more times as much ambient light control as a small format camera . . . and for a system price that rivals professional small format digital cameras;
are looking for a Rollei 6008AF system or a backup for your Leaf AFi or Sinar Hy6 and use pre-AFD lenses or want to use a new Phase One digital back on a Rollei 6000 series camera; the digital back, to my understanding, may be shipped to Phase One and the interface can be transferred onto any new digital medium format back;
want instant street cred; while I hate to admit it, no matter how shitty your photography may be, you'll be the most badass photographer your art director has ever seen if you have one of these . . . even when you're not shooting it;
have CAD$6950. At this price you're paying only about $1000 for the digital back.

More output samples and full resolution files available upon request.

The lens is a bit dusty but the glass is in flawless condition. Autofocus, while noisy, is quick and accurate. That said, with only a single AF point I preferred to manually focus the camera whenever I shoot it.

The camera features a very reliable metering system with auto bracketing and exposure compensation capability. While a lot of my peers may scoff at my use of aperture priority auto exposure the majority of my non-strobe work is effectively exposed with automatic exposure.

The camera was originally sold as a $22,000 kit with the digital back. I purchased the system used some time ago and I have never shot this system with a film back. The P20 has around 9000 frames counted and I have no reason to believe that the camera or lens have any more frames than the back does.

The Brightscreen Accurfocus works well for product type shots when using the included close up adapter with the 80mm lens. While using the waist level finder and magnifier works well for more normal working distances, when close focusing, the Accurfocus' magnification offers more confidence in manual focusing. The included auto extension tube maintains autofocus capability.

And of course the prism finder can be used in the "normal" behind the camera position.

An existing light photo of Vicki shot in 2007. Hair, makeup, and styling by Nikolas. Going through some of my older shoots many of my favourite images were shot with this system. If I wasn't so married to shooting my Leica M7 and Toyo VX125 and film scanning I'd be buying back this system myself.

Katherine and Tyler for the cover of a formal wear catalogue for 2008. The Rollei 1/1000s shutter and the back's nominal ISO of 50 made it possible to shoot this frame at F/2.8 and to allow the use of a location strobe system at under 40Ws so we managed to shoot all day on a single strobe pack battery.

A rejected photo from a commercial bridal shoot with Kasia and Julie. The Phase One digital back black and white conversions are nothing short of "film like"; I have never achieved such tonally-gratifying conversions from anything short of a 16bit medium format digital back. The Leica M9 and the Nikon D3 at nominal ISO have produced some of the best small format digital black and white conversions but they can't compare.

A shot of Leanna from the first shoot I did when I received this camera. The naturally square frame makes you think differently as a photographer. Furthermore, after creating a square frame you often end up with a picture that can easily be cropped to a number of different aspect ratios.

Another shot of Vicki from the same day we shot the other photo of her in this entry. The high flash sync speed allowed us to shoot day like night off a single battery powered strobe system without having to stop down the lens iris excessively.

2011.05.20: Merran - Nikolas' Forgotten Doll

nospam@example.com (Klyment Tan) — Sat, 09 Jul 2011 03:34:39 -0400

Merran was so perfect for the images in our minds and I believe that Nikolas finally achieved something with this shoot that we had continually sought to realize for years. But in spite of how satisfied everyone seemed to be with these images, as the photographer I feel as though I left a lot of creative potential untapped and, in a sense, let down the team. Had this been a commercial shoot, achieving the original vision would have been enough justification to wrap the day. But this was to be an explorative and experimental shoot where we were to push ourselves beyond our familiar limitations. And perhaps here is where Nikolas and Merran had succeeded and I merely achieved what was satisfactory.

Originally I had intended to use the fog as a medium through which to project and "fake" many more natural light sources as if our locations had a wall perforated with rotted holes allowing the passage of direct sunlight. But upon proofing with a Fuji Instax frame I became comfortable with the composition, posing, and the found lighting that I had only conservatively enhanced with a single artificial light source even though I had brought a total of four Dedolight tungsten heads, two Arri Locaster LED arrays and two bi-color LED panels. I had become so pre-occupied with meeting a cut off time that early in the shoot I had subconsciously eliminated what I believed were non-essential elements that could jeopardize meeting this deadline. I had a few ideas that would have leant more depth to the concept and I could have used a stronger hand in directing our model but I had become distracted by the camera work.

Regardless of these personal disappointments I had discovered something through this shoot that wasn't directly related to these photographs. But that's for an offline discussion.

Two of the three deliverable images shot in the originally-intended format and medium. Ilford HP5+ pushed to ISO 1600 in Ilford Ilfosol S after being exposed through a Schneider Symmar 135mm F/5.6 (above) or 210/5.6 (below) mounted on a jade green Toyo VX125, and drum scanned with an Aztek Digital Photo Lab Pro-driven Howtek Scanmaster 4500. Lighting provided by a custom 9x9" bi-color LED panel running on a Sony V-mount battery. Fog by a Martin Magnum 800 and Martin fluid.

I guess this image serves as a setup shot.

Some of the [2minute] instant proofs from the Toyo.

Nikolas doing his thing.

At the studio before the shoot . . . so dreamy . . . so suspicious.

A quick Leica M7/90 Summicron/Delta 400 @ 1600/XTOL reference photo.

2011.03.01: Kingsway Mall Spring Campaign

nospam@example.com (Klyment Tan) — Fri, 13 May 2011 14:12:02 -0400

Kingsway Mall's spring campaign photography planning and shooting transcended what, in retrospect, could have been the most tumultuous period in both my professional and personal life. I suppose a photographer can never fully separate living and working but this shoot's timing placed it at the meeting point of so many conflicting forces from so many directions. My parents were planning to leave the country and a large commercial realty portfolio for five weeks, my brother was still in South America, and I was developing a combined architectural portfolio when before my showcases have always contained work for which I was the sole photographer. And during this entire process Leanna, my girlfriend, closest friend, and muse of almost a decade was ending her relationship with me . . . while I was getting audited by the CRA! On top of all of this my work was finding itself a new path; it seemed to have been following the path to equipment minimalism of my architectural photography. Yet when Todd of Tag Advertising phoned me with a wild, equipment-intensive and potentially physically impossible concept for Kingsway that he wanted me to help realize I had to put many of these external factors into my "hold pile" and focus.

Corey Thompson and I spent hours testing and experimenting with different photographic projection methods in tandem with a variety of foreground light control methods. Corey had a lot of novel ideas for flagging and even for the generation of light textures for the backgrounds. As our understanding of the challenge and of strobe image projection evolved, so did a set of tools that allowed our photographic team to enable an art director to do graphic design with light all in camera. The photographer is often offered undivided credit for the success (or failure) of a photoshoot but as with many of my shoots the photographer is a relatively small part of the equation. Those who have already seen the photographs and realize what he have achieved don't give Todd Sloane and his agency enough credit for the creation of a concept that empowers a client to shoot seasonal advertising indoors in any season and for any season with minimal post processing. Todd's expertise made the difference between a hodgepodge of random projected images on the background and a well-planned interplay of projected imagery, foreground lighting, and John Chwyl's wardrobe styling choices.

I would like to thank Corey, an extraordinary art and conceptual photographer, for his continued support not just as an assistant but as a full photographer willing to lend his expertise on my sets. I often fail to adequately appreciate his contributions and his tolerance of my often impatient and unyielding nature. Thank you to Bry Acheson for her assistance with day 1 of the shoot where we continued to encounter numerous technical challenges she actively helped to resolve. Thank you to Aaron Pederson of 3TEN Photo for making available his studio with near-ideal topography for where we needed to place equipment and all at a reasonable price. And a gigantic but humble thank you to Stephen Pilby, my good friend, and his company Lighttools. Stephen's invention of the the Lighttools Soft Egg Crate allowed us to use soft light for our subjects while minimizing impact on contrast in the projected backgrounds. Without them the backgrounds would have been totally washed out. Soft Egg Crates allowed us to realize our art director's dreams of spring fashion photography in Edmonton in -28degree weather beyond expectations and within budget. I don't think any of us fully realize what we achieved with Todd's vision and Stephen's light controls and the implications these achievements will have for shooting seasonal retail advertising in markets with temperate climates. And a huge thank you to our models, Ania B, Courtney M, Riza S, and Liam, all represented by Sophia Models of Calgary. Thank you all for what we have created.

Two of some of my favourites of Ania B.

Courtney M . . . so hot that she made Nikolas question his sexual orientation for a couple minutes.

Riza . . . and recent winner of the Miss World Canada pageant.

Liam. Dylan and Whitney of En Vogue Photography, Saskatoon photographed him for Midtown Mall previously. Except he didn't have hair then.

TAG Advertising's mockups for the new campaign. I knew that we had our work cut out for us when we dissected the lighting in these mocks and realized that much of these images couldn't be created optically in a single image and some would require "negative" light sources. In 3D art the artist can create a light source that can subtract light from the scene but, at least to my knowledge, there is no way to project "light" that precisely darkens part of the scene. We could have lit everything with lekos and used extensive numbers of custom cut gobos but this wouldn't be feasible considering our time budget.

So we compromised. And here's how we did it. One Bowens QuadX 3000 power pack, one Bowens Quad head, one Calumet/Bowens ellipsoidal reflector spot lamp strobe projector, one Bowens/Calumet universal spot attachment, three Norman IL2500 heads, one Norman D12r power pack, one Bowens Esprit Gemini 250 monolight, Calumet and Chimera soft boxes, and Lighttools Soft Egg Crates on every single soft light source to maintain foreground control and direct light off of the background thus preserving contrast in the projections. Part of the reason that we chose Aaron Pederson's/3TEN Photo's studio was because we knew that we would need to project from above and around the model and that adjusting the projection would be a tedious job requiring many small adjustments. This studio offered a platform situated about 10-12feet above the ground so we could use a normal light stand and a projectionist could stand on level ground while adjusting the primary background projection light. All photos shot with the Nikon D3 and the 24-70/2.8 AF-S Nikkor directly to a custom compact PC/Windows Vista workstation equipped with an NEC Spectraview LCD2690WUxi and processed in Adobe Lightroom 3.

Here is an image I was hoping would be a billboard/2:1 aspect ad candidate but never saw light.

Experimenting with different backgrounds and a photo showing what the set would look like without an image projected on the backdrop.

From left: our projectionists and co-photographers, Bry Acheson (Day 1), and Corey Thompson (both days); our art director, Todd Sloane, selecting from a series of images printed onto inkjet-receptive clear polyester for background and ground projection; Kingsway Mall's marketing director and our fashion stylist John Chwyl and Todd selecting images for projection.

From left: Nikolas Syhatheb, our makeup artist and hairstylist; Nikolas working on Riza's hair in the hallway as Ania is taking a quick break while awaiting a background change; Todd and Bridget as we wait for makeup touch ups.

From left: Ania in the mirror as I'm shooting from a gap between dresser and table; Ania receiving hair adjustments from Nikolas as John prepares a scarf and Riza looks on; Day 1's photographic team with Corey's head to us and I'm enjoying my Starbucks surprise (thanks, Bridget!).

2011.04.09: Architecture photography portfolio - complete

nospam@example.com (Klyment Tan) — Sun, 10 Apr 2011 02:42:04 -0400

With works collected from the past two years Justin Poulsen and I have finally finished assembly of my first architecture portfolio and the first portfolio that's being presented as a representation of the combined output of more than just myself. The samples contained within were all shot on 4x5 film and scanned with either the Microtek Artixscan M1 or with the Aztek DPL-driven Howtek Scanmaster 4500 drum scanner on a Horseman LE, Sinar X, Linhof Technikardan 45s, or a [jade green!] Toyo VX125 through lenses like the Calumet Caltar-II N 75mm F/4.5, the Schneider Super-Angulon XL 72mm F/5.6, and the Calumet Caltar-II S 135mm F/5.6. I have more details to discuss later but most of what I would discuss in a blog entry is already contained in the portfolio. Download a web-sized version here. The portfolio was designed for print presentation and currently one such copy exists, printed on Moab Entrada 190gsm bright white double-sided using the Epson Stylus Pro 9900 and bound in a Pina Zangaro 11x17" landscape oriented "Vista" post-bound album. If you would like to see the hard copy please contact Justin if you're in Calgary or elsewhere in southern Alberta or myself for Edmonton or anywhere else.

This image is a low resolution rasterization of the opening spread of the portfolio. See below for the full text from this spread. And be sure to check out the downloadable PDF version. I assure you that it's all buildings and no more photos of us.

My write-up:

I began as a fashion and glamour photographer and still attract a diverse stream of commercial fashion and advertising assignments but it wasnt until I began shooting architecture that I really began to see. In fashion advertising I took pride in being my clients scalpel: a precise tool to be weilded by gifted and ambitious art directors. Architecture and architectural photography is about the symbiotic coexistence of natural and man-made environments and what is built. It is less about destroying and building and more about shaping and transforming. Therefore, in my practice of architectural photography I choose not to break down and reconstruct lighting from scratch and represent it explicitly. Instead I seek to enhance and amplify what I see with timing, composition, and camera work. I feel that this approach better conveys to the viewer not just literally what a space is but offers a sense of what the light and the space can do for them. Armed with this philosophy I became my own art director and these interiors and exteriors became my muses. This philosphy has begun to permeate back into my fashion and advertising work.

I met Justin Poulsen several years ago and was thrilled that he had developed an interest in 4x5 capture and technical photography. His interest and skill grew exponentially and when I realized I would need a strategic partner to complete certain assignments he was the first photographer I called. It is rare, if not impossible, to find another photographer who shares the same philosophy, technique, and preferred architectural shooting equipment as yourself and in Justin I definitely didnt find this rarity. Instead I have found someone more important; I have found a complement with very different characteristics compared to my own. I have chosen to develop my equipment list and skills with analogue cameras supported by some of the best digitization equipment while Justin tuned his kit and his abilities around a fully-digital workflow based on some of the highest performance and most coveted equipment available. My kit offers exotic optical rendition, analogue character, and full creative freedom with camera movement while Justins kit offers grainless images with flawless pixel-level acuity and the short turnaround times associated with pure digital capture.

Justin's write-up (with contributions by Dylan McAmmond):

[12:52:19 AM] Klyment: Justin: did you work on your write up?
[12:52:29 AM] Dylan: can i write it for you justin
[12:52:36 AM] Dylan: itll be funny
[12:52:38 AM] Justin: not yet. In the middle of my essay
[12:52:41 AM] Justin: okay dylan. u do it
[12:52:45 AM] Dylan: LOL
[12:53:27 AM] Justin: ...and go
[12:53:33 AM] Dylan: too lazy
[12:54:06 AM] Dylan: watching office and... medicating
[12:54:14 AM] Justin: fuck off. ill pay u
[12:54:18 AM] Justin: in jelly beans
[12:54:22 AM] Dylan: black ones?
[12:54:27 AM] Justin: yeah
[12:54:31 AM] Dylan: fuck I love black jelly beans
[12:54:40 AM] Justin: k good cuz i just spraypainted the whole bag

2011.04.03: 3" Mailing tubes for sale!

nospam@example.com (Klyment Tan) — Sun, 03 Apr 2011 19:23:59 -0400

These black plasticized mail tubes extend from 28 to 36" and seal easily with tape or a shipping label. Shippers Supply wants over $3 per basic white paper tube including end caps. $2.25ea or $2ea in quantities of 25 or more.

Photo by Corey Thompson.

A shot of Corey's setup. Looks like three Norman IL2500 heads driven by a Norman D24r power pack with standard reflectors and spot grids plus a Chimera Medium video soft box with 20degree Lighttools Soft Egg Crate. A vacuum cleaner serves as a gobo to texture the background light cast onto a Savage Studio Grey paper backdrop. Foreground light provided by a silver reflector.

2011.03.33: NAB (National Association of Broadcasters) Show 2011 interview planning

nospam@example.com (Klyment Tan) — Wed, 23 Mar 2011 11:01:25 -0400

On our way to California, Justin Poulsen, Corey Thompson, and I have an opportunity to drop in on the NAB show in Las Vegas. Our itinerary only affords us one day on the exhibition floor so I'm trying to create a concise list of the company representatives I would like to interview. As many of you know there is a lot of cross over between video/motion picture and still photography and as still photographers we often neglect to look outside of products and techniques that are specifically marketed to us. Of special interest to me are LED light sources, tungsten and HMI lighting, RAID controllers, post processing software, and also some video-specific tools that would help make it easier to share information from shoots and lighting techniques with other photographers. I'll also be following up with a few vendors I interviewed in Munich and Cologne at Cinec and Photokina, respectively. If you have questions that a photographic lighting nerd could help you get answered please send them to me or leave them in the comments and I'll bring them to NAB.

2010.10.07: Kingsway Mall seasonal fashion advertising campaign

nospam@example.com (Klyment Tan) — Sat, 26 Feb 2011 17:23:25 -0500

I admit that I am embarrassed that it has taken me until the eve of next season's Kingsway Mall campaign photoshoot to share photos and notes from last season's photography. I delayed posting not because I wasn't eager to show you the work we produced and the process through which the images were created but because I was very happy with the images Kingsway Mall and their advertising agency, TAG Advertising of Calgary, AB selected for ads and for the Kingsway Mall website. The shoot felt much like what the reunion of an old band may have felt like; West Edmonton Mall alumnus John Chwyl as Kingsway's marketing director, Nikolas Syhatheb and his team for hair and makeup, and Corey Thompson as photographic assistant/co-photographer/human boom stand. But much had also changed. I looked through TAG Advertising's portfolio and company with a diverse and illustrious past and with enormous potential. Many of the works, while done for mostly small and medium-sized businesses, were very original and brilliant both in concept, execution, and delivery yet also pockmarked with work that I couldn't understand. I often experience this response when looking at the work of many of the ad agencies that I have admired and would appreciate an opportunity to work with again in the future. For weeks we planned this shoot and for weeks I could barely contain my eagerness to work with this new (for me) art director.

I was apprehensive about the concept at first; the concept called for images shot with mostly out of focus/blown out backgrounds that would later be gradient-toned with some blues and integrated with Kingsway Mall branding materials. But I had faith in the concept and art direction and as the two days of shooting unfolded I wasn't just relieved but pleasantly surprised that my initial apprehension was totally unfounded. The two days produced some of the most free-flowing shooting situations that I've had the chance to work with in commercial fashion photography. John insisted that Patricia be one of our models for this shoot and I wouldn't object to another opportunity to shoot with her (even if I dared!). Katherine and Sean are represented by Sabrina Notte and her agency Deja Vu Modeling International out of Red Deer. Vicki is a model you've seen before in my portfolio and my blog and is currently unrepresented. Liv is a new model and Tom Jablonski is a friend and the Shoe Guru. We used Corey's 72x72" Scrim Jim and 1stop black screens or the white/silver reflector fabric as the only light modifier for the two days. Virtually all photos were shot with the Nikon D3 and the 135mm F/2 Defocus Control Nikkor and processed in Adobe Lightroom 3. Katherine is currently modeling in India and Oman under Inega model management. And a huge thank you again to the awesome people at the Alberta Aviation Museum for hosting us at the hangar.

I've worked extensively with Vicki over the past five or six years and created several pieces that I felt were photographic portfolio worthy. However, I feel that this may be the one shoot in which Vicki has looked her best.

A selection from Sean's first set of the day. Scrimjim silver reflector used to fill in some of the shadows on the forklift in the background.

Liv's last look of her first full shoot day ever.

I thought Tom had a cool look from the first time I shot him for his own company's promotional materials.

My favourite shot of Katherine to date.

Some of Patricia's photos that were never used. A small cross section of a 100+ image flow of hotness.

The concept mockups that got me a bit worried at first.

Make the jump for outtakes.

Everyone's still smiling . . . the day must have just started! Just kidding.

We're still tweaking the first look we'd shoot over the two days. In all I believe we shot about about twenty looks and about 1300 photos.

Bridget about to help Katherine out with her pants.

My usual shooting position while Todd and Nikolas show their support for the photographer.

Nice shot, Todd . . . probably the sexiest photo of the day.

I've worked with Vicki in almost the same spot before. Recognize the fuel tanks in the distance behind her?

A casualty of shoot day one. Well, not really . . . we found him or her like this near the end of the day.

A real casualty of the photoshoot: I dropped the Nikon D3 lens first into the pavement, cracking the filter and denting the filter ring. I was unable to remove the ring and still needed this lens so I ended up smashing out the rest of the glass. Once all of the filter glass was removed the lens continued to function flawlessly.

Oh, shoot styling kit, how I missed thee.

John's totally not as grumpy as he looks in this shot. At least I hope that he's not as grumpy as he looks.

Hahah

Nikolas evaluating the makeup situation to prepare for a close up shot.

I'm glad that I have a Panasonic GH1 (and now Panasonic GH2) to pass around on set for behind the scenes stills. Most of the time I end up shooting my own behind the scenes. Thanks again to Todd, John, and Corey for many of these photos.

Todd's hilarious attempt at being creepy.

Hahah . . . I think this could have been one of the better photos from this set.

Corey Thompson being a lightstand.

Best human light stand EVAR!

Liv gettin' some stuffin'.

I wish I could say that this was the first time I've worn women's clothing at work.

Hahah . . . the hilarious backstory to this photo isn't fit for the public internet.

Last photo before we lose the sun.

John checking the balance of a feather earring.

Bridget - she works in marketing for Kingsway with John. Thank you for all you have done for this shoot.

This photo reminded me to remind Nikolas to return to Edmonton to do hair and makeup on Monday and Tuesday. He totally forgot. HAHAH!

2011.02.26: Architectural photography portfolio coming up!

nospam@example.com (Klyment Tan) — Sat, 26 Feb 2011 23:37:01 -0500

Justin Poulsen and I are assembling a collaborative architectural photography portfolio. With Justin's workflow is based around a Phase One digital medium format back on a Cambo Wide RS and mine is base around the Toyo VX125 and an Aztec/Howtek drumscanner together we can offer both digital and large format film capture in Edmonton, Calgary, and easily throughout Western Canada. Here is a preview of the portfolio to come. Each spread will be 11 x 34".

2010.09.10: Crowne Plaza Chateau Lacombe

nospam@example.com (Klyment Tan) — Tue, 08 Feb 2011 17:14:07 -0500

Between a half hour in a coffee shop and a few short trips on trains I thought I had constructed what I was going to write for this shoot. However, after learning what I just learned from my art director I can't publish most of that! I'm posting the same images and with similar captions but it'll be more a discussion about the technical aspects of the shoot than about my interaction with art direction and client.

Ania Smith of Axial 3D was our art director. This shoot was partially a promotional shoot for Crowne Plaza Chateau Lacombe showcasing some of the new renovations and breathing new life into their existing photographic advertising but it was also partially a personal project for Kevyn, the hotel's new owner. The challenge was that the hotel had not yet been fully renovated so we had to be imaginative. We wanted to create something that wasn't purely architecture-oriented because we needed to give a sense of the spaces within the building without explicitly documenting certain details about the spaces that were destined for change. Models became very important to help us achieve this goal and it was also important to shoot with a camera chassis and a format that would allow for a high degree of adjustment latitude and selective focus and do so without negatively impacting reproduction size or giving photos the "small camera tilt-shift look" often associated with using tilt-shift lenses on digital SLRs. For this reason the project was shot almost exclusively on 4x5 films with the (jade green) Toyo VX125. This would also be my first project on which I'd use colour temperature adjustable LED lights in the form of ARRI Locasters as the primary photographer-controlled light sources. Most original film rebate is intact and film types range from Portra 160NC to Ilford HP5+ to Kodak EPY 64T. Colour films were all chemically processed by ABC Photocolour in Vancouver and I drum-scanned them in my studio on an Aztek DPL-driven Howtek Scanmaster 4500. Ilford HP5+ push processed to ISO 1600 in house in Kodak XTOL at stock strength.

Hair, makeup, and styling by Nikolas. Photos shot with a lot of help from Corey Thompson. And special thanks to Kevyn and his assistant, and the hotel's staff for being very accommodating and for being great hosts. Book a room in this hotel; you won't be disappointed. And thank you to Yura of 350 Designs for introducing me to Ania a few years ago.

A shot in Crowne Plaza's largest ballroom. I think just about every wedding photographer in the city has shot in this ballroom at some point so it was important to try to take the focus away from the room itself and to create a new focal point. I sense that some of the decor in this room is about to change. Kodak EPY is a discontinued ASA 64 tungsten balanced slide film. I bought a 50pack when I was in Detroit and motorcycled it back this past summer. Shot with the Schneider Super-Angulon XL 72mm. Very modest rim and fill light provided by ARRI Locasters tuned to 2800K undiffused. Using colour temperature adjustable LEDs allowed for setup, colour match, shoot, and teardown faster than we could normally setup and colour match our lights for situations like these.

Originally, I wanted to have a half naked woman in the foreground of this photo and with underwear and clothes scattered across the bed and the floor as kind of a fun option but my requests were denied. Anyhow, I'm still happy with the photo . . . I wanted to deviate from the usual hotel room photos showing off perfectly-made beds devoid of any signs of occupation by people and give it more of a life style feel. Shot with the Schneider 72mm Super-Angulon XL wide open with a bit of swing and rise movement for selective focus and to prevent wall lines from converging.

Another option for a bedroom shot. Also shot with the Schneider 72mm XL.

Shooting only with continuous light and shooting with a 4x5 (or larger) ground glass allows for very easy composition of more static frames. The added flexibility of full movements in a monorail camera allow the photographer to add a unique flavour of dynamism and exotic lens rendition to an otherwise more posed photograph. We used a single ARRI Locaster set to 6500K with a diffusion gel clipped to the barn doors to light the foreground for this shot.

We moved to Portra 400NC for the photos shot in Laronde because of how many people were involved and because we wanted people to be animated while in their seats. Even at ISO 400 (rated to 320) we were getting about 1/30s at F/11 and even with a bit of fill by ceiling bounced ARRI Locaster as we were metering for the foreground. Background spot metered at about 10 stops brighter than the foreground but what was really interesting is that in spite of all of the the criticism we've seen about film's narrow latitude, this was the first photo that I had to edit to significantly increase contrast and throw away highlight detail to make it look realistic. Caltar-II S 135mm F/5.6. Film loaded in 6 frame Graphmatic film backs.

One of the few photos shot on the D3. I resorted to using a dSLR because we needed to shoot at higher sensitivities which was one area that colour film suffers. This particular shot was done at ISO 800 and at F/2.8 with a 1/10s shutter speed.

This was the last shot of the day and the one I found the most challenging. The lobby is a large space to fill and with flat, uncontrolled, and mixed lighting which is why I opted to shoot a black and white film. Admittedly, I struggled to position people in a believable manner and I am not sure if I achieved this. And (I never thought I'd be able to say this with a straight face!) we may have too many female models!

All in a day's work: instant proofs from each of the 4x5-oriented scenes.

2010.09.25: Photokina Cologne - Highlights

nospam@example.com (Klyment Tan) — Sun, 02 Jan 2011 01:17:03 -0500

Shortly after leaving Cinec in Munich, Germany, I had the opportunity to check out some goodies primarily targeting still photographers at Photokina. Some of the highlights include a ball-based alternative to geared tripod heads by Arca Swiss and Manfrotto, Priolite's battery-integrated monolights, the Panasonic DMC-GH2, Brightcast LED lighting, a discussion with Elinchrom's Vice President and head of Swiss and UK distribution Christopher Whittle about Elinchrom's product development philosophy, the upcoming Elinchrom Skyport iPhone app, and some of the company's new products, Michael Hejtmanek, president of Bron Imaging Group, and his discussion of Broncolor's new entry-level pack and head system, the Broncolor Senso, a walk through of Dedolight's product line and a look at some new things with Profoto.

Broncolor Senso

NEC Spectraview PA271 (Spectraview LCD2690WUxi replacement . . . sort of)

Brightcast LED lighting for cinematography and live performance

KPS Design's "geared" tripod ball head

Lots more on my YouTube channel.

2010.11.09:Natasha Lazarovic for Avenue Magazine Edmonton

nospam@example.com (Klyment Tan) — Tue, 18 Jan 2011 15:57:50 -0500

I haven't felt so unprepared since I started shooting as I felt for today's session. It wasn't because the expectations were unreasonably high for this shoot since it is a conservative editorial disguised as a fashion shoot. It isn't because I was attempting to displace a high profile photographer since I wasn't displacing anyone. And it isn't because the art director threw in a location that likely won't have AC power and to keep things interesting I chose to work only with continuous light sources. I felt mentally unprepared. I felt as though I was being constrained by this publication with limitations I don't even encounter in commercial photography on a budget of about 25% of what I typically command for this amount of effort for a commercial shoot. However, when I saw the published piece, in spite feelings of uneasy apprehension as I handed over the full resolution versions of the files Rodrigo requested, I am thoroughly pleased and even impressed by the final product. The January 2011 issue of Avenue Magazine Edmonton featured the first cover that I have shot that I was completely happy with and I feel that Rodrigo López Orozco, supported by Anders Knudsen, creative director of Avenue Calgary,
is whom is most deserving of the credit for this cover . . . aside from our model, designer, and stylist, Natasha Lazarovic and our makeup artist, Hailey Ginn. I'd also like to thank Adam Goudreau, my co-photographer for the shoot, for setting up while I ran back to the studio to grab a few items and for allowing our shoot to flow smoothly. And thank you to Carla Alexander and her staff at MRKT. And as always, thank you to Curtis Comeau for repeatedly recommending me to Avenue. Because of you I've had the privilege of working with my third Avenue art director.

All photos taken with the Nikon D3 through either the 135mm F/2 Defocus Control Nikkor, 24-70/2.8 AF-S Nikkor, or the 70-200/2.8 VR I at sensitivities ranging from ISO 800 to 3200.

Web-res of the January 2011 cover of Avenue Magazine Edmonton as borrowed from Avenue's website.

I just noticed that this image was reversed for design reasons. Maybe that's why Jonathan couldn't recognize her even though they were high school chums. Illuminated with an ARRI Locaster color adjustable LED fixture set at 6500K for the background and with an ARRI Locaster with diffusion gel clipped onto the barn doors for the foreground at 2800K. White balance set in Adobe Lightroom 3.x to 2800K. My only non-essential edits were the removal of some arm freckles. =P

One of my favourites of this part of the shoot.

An all existing light shot that didn't make it past the first round of selections.

This image was lit with two ARRI Locasters to the left of the frame, one above the other and about five feet away. Both lights were set to the same colour temperature. If this photo were to have been published I would have smoothed out the edge of the nose shadow. Working with smaller light sources it's important to properly centre the light over the face axis if a photographer needed a shot to be usable right out of camera without a displeasing nose shadow.

We spent the most time on this set of images both in shooting and in setting up. It's Natasha's brand new "Soviet Russia" piece and, at least at the time this was taken, no one has had a chance to photograph it yet. We used three tunsten Dedolight 100W Fresnel fixtures all set within about a stop apart and on the same C-stand. The lights were used unmodifed to provide separation lighting for Natasha's body and for her head piece. Two ARRI Locasters set up one above the other camera right provided the key light with the higher light softened with a diffusion gel clipped to the barn doors.

Literally our first shot after moving the lights. Diffused ARRI Locaster camera right and dimmed ARRI Locaster set at same colour temperature for rim camera left.

Natasha making Rodrigo feel uneasy holding all of the repurposed little animals. Locasters in the foreground. Leica M7, 35/2 Zeiss ZM Biogon, Delta 400 pushed to 1600 in Kodak XTOL and scanned with the Nikon Coolscan 5000 ED.

From left, [ridiculously skinny] Adam, Rodrigo, and Hailey. Very small crew this time.

2010.09.27: Germany Vacation Photos

nospam@example.com (Klyment Tan) — Thu, 28 Oct 2010 03:53:35 -0400

At approximately 7pm on September 26^th I attempt to book a train trip from Köln to Frankfurt for the 27^th at 6pm. Deutsche Bahns website returns an error informing me that my desired itinerary occurs in the past. The past? I inquired unto myself and I sat there pondering this software glitch over a Baileys latte at Brownies off Friesenplatz, confident that it would work itself out. And the problem did work itself out I finally realized that I had failed to advance my watch a day as we crossed the International Date Line on my flight over from Edmonton. It was 7pm on the 27^th when I had attempted my booking. But I still had one thing left to do during this visit. I rush off.

About fifteen minutes and one transfer later I find myself at the Nippes station platform. The air is misty and the streets are deserted. Unlike much of Köln, this areas population density and commercial density seems very low with large parking lots around sleepy-looking but modern warehouses. I see only a handful of pedestrians some of whom shoot me an occasional nervous glance. So far, everything seemed as I had expected.

There is one road roughly parallel to the direction of train travel but this road angles slightly after a few metres. I am sheepish to admit that I instinctively headed the right way to my planned destination without having to ask a local for directions. I come across a sign board on a bicycle rack pointing me towards a casino. Everything I saw seemed to point me to where I wanted to go. It would be only a few steps before I see the blue, twelve storey building towering over the much smaller surrounding structures. Pascha, Cologne, is the largest brothel in Europe and is licensed by the city and was built on government-owned land. Upon entering, guests are asked to pay a 5euro entry fee that is good for twenty four hours and includes all non-alcoholic beverages and some snacks. If a patron were to choose to leave the premise with the intention to return later, the doorman will offer to stamp your hand (with a star, in my case) so that you may avoid having to pay the entry fee again. In the same building but behind a semi-separate entrance, there is a strip club with similar rules to those in most of North America. But I have seen a strip club before. I was here to experience the brothel. And though I wasnt here to experience it how most men choose to experience it, I believed that walking the floors would ensure that I not be denied one of lifes greatest and most taboo experiences.

I visited all of the floors except for the floors reserved for transsexuals and I also didnt visit the club-style brothel at the top floor. Many beautiful women sat outside their rooms or within their rooms with their doors open, casually displaying themselves to those who may peer in. I spoke with a few of these women. Amongst them were a Hungarian, an Italian, a Pole, and a Chilean. But on the fifth floor I happened to glance into a room and could not walk away. A young Brazilian enthusiastically leapt to her feet to greet me at the door and to invite me in. She was short, no more than 54 or about 160cm and her command of spoken English was barely functional. It would take me almost two minutes to explain my intentions and another two minutes before we could agree to working terms.

I photographed Nora for about a half hour during which I shot almost two rolls of Ilford Delta 400 through the Leica M7 and the Zeiss Biogon 35mm F/2. Back in Edmonton I would push the film to ISO 1600 in Kodak Xtol at its stock concentration. Before leaving I pay Nora fifty euros. I left her room feeling somewhat traumatized while toying with the idea that I had just paid for the services of a prostitute. But I also had to think about what was she to me? What had I just paid for? Was she a prostitute or a model whom I directed as I would have directed any other model on the same set and with the same concept? The process and the end result were much more gratifying that I imagined her regular service would have been . . . though I was certainly curious.

Leaving the brothel and telling Leanna all about my experience was sort of a proud moment for me. Being able to honestly recount the events of the night to the most important woman in my life (other than my mother) with the knowledge that many other men making such a revelation to their respective significant others would have provoked wrath and scorn served to reaffirm that Leanna is the coolest girlfriend ever. And for the record, I sent Jonathan Puckrin this series of images first. I felt that he would be my one friend who would likely appreciate this set the most. I feel badly that I had done this shoot at the time that I did and wish that the photos didn't find him during such an unfortunate time.

In the past year I've been able to selectively squelch my inner control freak and accept existing light as it is, modifying it only when necessary. For the film fanatics that read this, it has nothing to do with the fact that I am shooting more film but because I try to shoot and travel lighter I'm needing to improvise more and make up for what I lack in light control with spontaneity and stronger compositions.

Most of the light in my model's room came from string lights around the bed, around the mirror, and interwoven with the translucent fabrics attached to her ceiling.

The mirror added some complexity to the photos but also made some angles unshootable without getting myself in them especially with such a small room. I had to make compromises. Shooting with a lens that wasn't wide enough added to the challenge that made the shoot more enjoyable for me.

This was one shot in which I half-wished there was no cut off but am cool with its composition as it is. My biggest fear was for motion blur holding the camera at arm's length and shooting at shutter speeds slower than 1/8th of a second. The heft of the M7 helped dampen some of the hand shake.

Some of my model's artefacts added to the realism and authenticity of our set.

This shoot inspired a new level of appreciation for the benefits of Xtol especially with designer films like Delta, Tmax, and Acros. I believe much of this shadow detail would have been lost had I developed in something like D-76 or HC-110 or even Ilfosol S or 3. And to top it off, Xtol is free of the more toxic components commonly found in other developers; it's primarily an ascorbic acid (vitamin C) developer. I even keep its working solution in an old Tropicana orange juice bottle in my studio.

I wished that my subject spoke more English. I wanted to know more about how this room had come to look like this and how long she had been working here.

This shoot offered one of the rare instances where I could meter off a model's chest to get my desired exposure values. Furthermore, having shot the M7 for some time and shooting with the Biogon 35/2 for even longer I was often able to focus in the centre, guess and adjust slightly, and shoot without having to focus and recompose from another part of the scene.

And just for Justin Poulsen, I believe my subject had a foam mattress but I did not confirm whether or not the foam was of the memory variety.

As one of the conditions of photographing her, my subject wished to remain anonymous. In respecting this request I am using only images in which her face was adequately obscured and I have disguised her name. The subject's real name seems more fitting for this entry and for this shoot but I was unable to come up with something more appropriate than "Nora".

2010.08.14: Nikolas' Contessa 2009 makeup entry part 2

nospam@example.com (Klyment Tan) — Tue, 05 Oct 2010 04:30:31 -0400

Today we completed a Contessa entry we started over one year ago.

I never thought that we'd take this long to complete a Contessa entry. Or that we wouldn't qualify as finalists. But I have nothing to regret. This project has offered me an opportunity to work with people with whom I'd like to work again and it has also given me a rare opportunity to work with my own mini-supermodel with full hair, makeup, and styling support by the best MUA and hairstylist that I know. To Nikolas, I never take for granted the times you've chosen me to be your photographer for your personal projects. You're regularly booked by Edmonton's top photographers to work on some of the most coveted and closely held contracts we get to see in this market and I know that any of us would be just as honoured to have this privilege. To our models from this shoot and our shoot at the same location in 2009, I doubt you fully realize how easy you have made it for just about any other photographer to have picked up the same camera and created something beautiful with you in front of the lens. And to the person who owns this abandoned property north of Bon Accord, I need to meet you! In the meantime, I'll just thank Jason Hafso for sharing this location with me.

That's kind of a strange place on you to put bug repellent, Leanna.

Leanna helping Michelle with bug repellent while Nikolas does some touch ups.

Leanna receiving some touch ups of her own.

Not every photo is a winner but every shot is important. First photo lit with a tiny Norman 200B battery system and head shot through the diffuser of a 5-in-1 reflector as held by Nikolas. I wanted to keep the look consistent as with the previous year's shots so we went back to existing light.

The image Nikolas selected of Leanna's set for the final entry. I still remember Leanna being so upset with herself and with me because she thought that she did so badly that I gave up after under fifteen minutes of shooting. The selected image was the second shot after I changed camera angles and location slightly. Nikon D3 with the 135 F/2 Defocus Control Nikkor at ISO 100, 1/1600s, F/2.

Michelle catches me sneaking a shot of her from within the grass. I first saw Michelle on a motion picture set five years ago not long after I started shooting. This would be the first opportunity that I have to work with her and hopefully won't be our last.

It would be just seven minutes before we create the image that Nikolas selects for submission.

Same settings as with the other images but at 1/2500s. This was one of Nikolas' night looks for his submission. But we were shooting during the day and I was kind of lazy with lighting and tried to "nightify" the shot by improvising with some of the burnt remnants of one of the buildings on the abandoned site.

I had some time to expose a few 4x5's. All 4x5's shot on Portra 160NC with a jade green Toyo VX125, 135mm F/5.6 Schneider Symmar-S/Calumet Caltar-S at F/5.6. Exposure time was approximately 1/250s for the two shots with both subjects. Rear rise and front swing applied to maintain perspective and get both models in focus.

All 4x5's scanned with the Howtek Scanmaster 4500 driven by Aztec Digital Photo Lab Pro attached to my little tethering workstation. Some fine tuning of colour done in Photoshop CS4.

The sun came out and made this photo a bit more daytime-looking than I would have liked for Michelle's wardrobe and makeup. I hadn't thought of that when I was shooting but I'll remember for next time. It also looks as though I have some sheets of old 160NC and new 160NC mixed together. Look at the edges of the film!