BATL with Day Job

Working along side Abacus & Day Job, we created some real magic for BATL. This was a shoot that took a lot of planning to make it possible. Most of the lighting you see in the upcoming post was a team effort with a mix of constant light and flash. This shoot was split video and photo, I’ll be including some behind the scene shots. To produce something special, it always takes a team. This shoot was no exception. 

Have you ever fake celebrated at one point? We do it all the time in our line of work. The countless time I’ve had to ask people I don’t know to cheer is probably ridiculous but it’s part of the job. Making this shot work took some beautiful set styling done by Abacus along with food prep. That food is for display only. Once we were done with it, it was all covered in beer so yeah, display only. 

The BATL project will stand as one go the largest production shoots I’ve done in recent years. Working alongside the wonderful people from Abacus Agency and Day Job was an absolute pleasure. Usually, when video and photo are combined, time management is meticulous. You have two teams competing or time on a scene. It’s not impossible, but the basic respect for each team to create has to be there. The management on this shoot was wonderful, and if all other shoots could go this smooth, I would be a very happy creator. Special shout out to Day Job & Abacus and others to making this shoot one to remember. 

The Outside Studio

I take the studio outside all the time, but I have yet to take a backdrop outside. Taking a huge piece of paper outside comes with its challenges. there is the basic issue, like rain, but the silent killer is wind. Luckily, this was a nice calm, warm day and the paper, for the most part, stayed still. The sun was high at the time of the shoot so most go it was blocked with a large umbrella from Profoto. I rarely shoot without flash and this was not one of those cases. I added a Profoto B1 with a beauty dish camera left. Flash always adds some kind of direction to your work. That gradient of light helps the subject pop out from the background.

If you would like to get a visual of what the set up looks like, just scroll down. When it comes to working with color backdrops or any backdrop indoors, you would need to light the backdrop to get an even look. Since we were workout outdoors where the light is uniform, a simple exposure for the model and backdrop kept everything in check. I can promise you that there was no backdrop manipulation and most of these photos are close to what they look like straight out of camera. It was a please not having to set up 4 or more light and achieve something that looks complicated and clean.

OK, I may have lied when it comes to not manipulating the backdrop. But I promise you all I did was mess around with H/S/L and change the colors around to compliment the model's outfit. The photo below was an attempt to bring a little more mood to the shoot. By changing my expose to minimize the ambient light and turning the power upon the flash, I was able to create more shadows and direction. I also placed the key light almost behind the model and have the light skip off her face partially. Shadows also yield more interest. So they say.

So, if the wind is low or nonexistent, its completely worth it to venture outside and bring the backdrop with you. This was the first and not the last time.

In the real world, none of these photos are possible on my own. The styling for these product shots was done by @mrigini for @meripetiofficial. I am a big believer that people should play to their strengths. It’s most apparent on set where I am already dealing with composition, lighting and all the technical mumbo jumbo but at the same time having to do styling. I can do it, but a professional will get it done in less time and produce an even better outcome. It always takes a team to get the best possible outcome.

For the gear guys:

Camera: Fujifilm GFX50S

Lens: FujiFilm GF 110mm f/2

Lighting: Profoto B1, Profoto Large Deep Umbrella

Hunting for Good Light

Hunting for good light is basically want we spend our life doing as a photographer. We either hunt it or do our best to create it. With the Fujifilm GFX 50s, when you find great light, the results are simply amazing. These photos were shot with a friend Aleksandra, who toughed out the brisk winds with me. 

Street Photography with the Fujifilm GFX 50s

It has been a long time since scheduling off an afternoon to wonder the street. Street photography was the tool I used to get familiar with new gear and techniques. This time, it was gear, the Fujifilm GFX 50s. The camera is particularly slow and out of its element for quick focus acquisition, but once you figure out that it's you who must slow down, each shot composed is almost a masterpiece. Taking the time to stop and figure out why this scene caught your eye is what street photography is about. This time, with the GFX 50s, there is no fear of blown out highlights or lost shadows. Going medium format is freedom. 

IG: @shoottheplanet

First day with the Fujifilm GFX 50s

Have you ever bought something, and not have buyers remorse? I have found the one thing, the Fujifilm GFX 50s. From the moment you take your first photo, you will be smiling inside and out. It only gets better once you get these photos into post-production. The detail and flexibility just open the doors. You will never see a highlight and shadow recovery slider work so well. I had no shoot planned for today, but I grabbed @vinnierehab and shot a few by the back of the lab. I for one welcome the decreased speed of shoots. Quality over quantity always. 

Equipment used: Fujifilm GFX 50s + Fujifilm GF 63mm

IG: @joe_umoro