Medium Format again...

I love canon products. I swear by the 1dsMK3, and for alot of my work like travel and documentary no other camera works as well. True the ISO range on the MK3 sucks, but i rarely shoot over 400 anyways, so for me the ISO argument is a moot point. But this blog post is to mention the power of Phase One backs. Really I cant imagine how a photographer could work in the commercial field without owning or having constant access to Digital Medium Format, especially studio shooters.

I understand the argument of spending 20,000 or more on a camera, but then how the hell do photographers shooting on the 5D or 5D2 even attempt to justify rates of $1000+ a day. I mean come on, the cameras alone just dont justify the photographer day rate!

Thankfully though for high end pro shooters, I am noticing that many ad agencies are starting to realize that photographers who shoot on lower end SLR's may not be the best choice for the commercial jobs... And rightfully so.

For those who are reading this who have never shot or seen photos from D medium format its really another world. When a client and photographer is concerned about quality, and I mean real quality, there is no other way to go. I am finding myself shooting more and more and more on my Phase One p30+ even when the job dosent require it. I guess it comes down to the fact that I want to deliver the best possible product interms of image quality I can, and phase allows me to do just that.

Some work from the phase back.

C

30 mins in Studio

Shooting with Hard light. 

I love hard light, but I often shoot with soft… hhhmmmmm I cant really tell you why, but I do. Here are a few proofs from a couple shoots in studio. I worked with Natasha a while back for a billboard campaign, so we came up with a concept that ties into my work with Stephanie (in my fashion portfolio). 



Then here is another image shot for Jessie James over at Union, it’s a pretty cool stock shot in the style of the 90’s CK ads. Pretty simple but a nice hard light. 7 days a week in the gym, a no fat diet and 1000’s of sit ups may help this photo as well. 

Enjoy! 

C 

8 hrs of make up for 20 minute shoot.

8 hours in make up for 20 mins in studio.

I can’t believe it. Trevor actually sat in for make up for 8 hrs to and allowed himself to transform into the demon prince you see here. I actually think only crazy people or actors making millions of dollars would put themselves through this type of make up process.

So I was setting up in studio waiting for Trevor to arrive. Much like an infant in an unfamiliar situation, I actually found myself confused when Trevor entered the studio.

Talkative as usual, Trevor began talking to me and for the first few minutes I didn’t even hear a word he said. – Seriously.
I just stood there looking at this 5’6 little demon standing in my studio talking to me like a normal person… I searched his face to see a hint of the pleasant Trevor I see on a day to day basis, and couldn’t find any. Then his phone rang, and he took the call… again seeing a grotesque demon casually talking on a blackberry was just surreal.

So I set up the shot, lighting and blasted off a few frames, and here is what we came up with.

I attached a series of Trevor without make up so you can see what he really looks like.

Enjoy!

C

Richard Avedon

AVEDON comes home.

The studio has been cookin' along really nicely since we opened. I love shooting on White, Black or Grey, and I have fortunately found a way to do this for all my clients in the past while. I had a local photographer ask me why do I shoot on white? I dont know because Its clean and pays a nice homage to classic photographers like Richard Avedon.

So over the past 2 weeks all of the oilers wives and girlfriends, were in the studio to shoot their charity poster for their foundation. When Ornella Moreau called she pretty much gave be carte "blanche" to do what I wanted to do... hahahah get it "blanche" So naturally I rolled on white.

I have also been shooting a whole bunch of corporate headshots.

But I am fortunate that the companies who call me are looking for something different, not the Jostens school portrait with the lame 3 point lighting, and cheesy colored backgrounds and the over used cliché of the vignette.
So I decided again to shoot in a complete opposite. No color background, no vignette, and no backlight. Classic in the style of AVEDON, but of course in color. Simple seamless.
Finally I attached a couple photos of City Councilor Don Iveson. The councilors last series of headshots were so bad that many of the councilors have decided to commission their own photographers to re shoot their portrait. Again very similar to Avedon work, with a Nigel Parry mixed in, but in BW. You see I provided Don a bunch in color as well, but being the man he is, he can appreciate where I was going and from my understanding used the BW. I am told you can see this pic of Don in city hall.
Anyways, enjoy!

C

Edmonton Avenue and Readers Digest editorial works

Any time you photograph for a national magazine it’s a real treat for a photographer. I have been commissioned in the pas to shoot for readers digest, and I always enjoy shooting for them. First off the story is almost always a “feel good” piece, second because they are based out east, I am almost always left to my own creative methods to shoot for them.

They really don’t like the over lit “look who many lights I have” cheesy photos so may photographers shoot. Digest allows me to shoot a lot with natural light, or simple lighting setups used by masters like Avedon. Infact I have to stand on my soapbox right now.

I am shamed that in Alberta many photographers do not even know Avedon’s work. Many shooters think “whoever uses the newest lighting technique dictates who is a pro or not”.

We are so involved in the technical side of photograph in here Alberta we lose sight of why we are talking the photograph and what makes a good photograph. I think if more pros need to take the time to learn about the past of their craft simplify their work and not worry so much about , speelights stobes, gary fong light domes, 3 point lighting, the latest Photoshop filter etc, basically all the gadgets we supposedly “need to” use today to make a photograph…

Hey the gadgets work, and have a time and place, I mean I own several enlinchrom ranger packs, and most of the aforementioned gadgets, but at the end of the day each is only used when the shoot needs it. Ok off my soap box now.

In this digest piece I was really proud because I got the content page, as well as a decent spread in the mag, always a boost for a photographer.

And if you are reading this and you don’t know who Richard Avedon is, head out to your book store and pick up some of his collections.

Anyways enjoy!

C

Curtis Comeau Studio Space

I have attached some pictures of my Edmonton photography studio. Its a modest space designed for editorial, commercial and small group portraiture.

(this is a panoramic of the waiting area and shooting space, edit suite behind the french doors)

Basically there is a waiting area, editing suite, office, consult room and shooting space. The waiting area is connected to the shooting space so makeup artists, art directors and guests can hang out while I am shooting my subjects. Considering alot of my portrait work is based on that of Nigel Parry, Liebowitz and Avedon, I have no need for a complex shooting space. What you see here is the shooting space (open) and the waiting area with the red couch. Behind the french doors is the editing suite (pic with the cpu screen, jones soda and wine bottles)
Anyways enjoy!

C

Look ma, no lights... well just one.

Who says you need expensive light kits to take good pictures. In fact Helmut Newton told Annie Liebowitz once to throw out her strobes and shoot natural light. For those who have shot with me before, know I have and carry an abundance of location packs, and lighting gear, but very often I opt not to use them. In this series only shot one photo with a strobe pack. All the rest are natural ambient light... can you tell which one was shot with a strobe? Anyways these were shot for NAS and the client is Alta Gas.

enjoy,

C