Grab Portraits Challenge: Fast Grab- Portaits: No lights, no reflectors.

[Jerome Marot]

That's a great caution, Jerome; well said! There's studio lights and then there's available light. I prefer the latter!

I don't think it is a question on how the lights are created. One can certainly created saturated highlights and blocked shadows with studio lights or use soft available light.

 

[Jim Galli]

I have to agree also that this is a perfect blend of technology, technique and available components. Lots of things could make a different picture. Color. A new desk. A better looking model. That last is un-arguable.

Ultimately the 24MP Canon could make a picture that looks just as sharp at 16X20. This is how the picture would have been made in 1920. Is there any charm in that? That's what folks will have to decide. What would have been lost in a color HDR picture here. We should set it up again sometime in the future and do exactly that. Perfect color tones over a 3 1/2 stop scale. No light coming through the window, just the window with it's pane visible. No brackish shadows, anywhere. Then hang both side by side and have a look.

In 1920, in a perfect world, the wise photographer would have placed the window at the side out of the frame, and perhaps put a sheet up to diffuse the light, then worked with the model for a very fine portrait. That wasn't possible in these constraints. The desk and the window are where they're at and cannot be moved. There's little room to move anywhere except exactly where Asher was at. That's why if you look at my shot of the same thing, the camera is slightly higher and the elements cropped to a very tight vertical, but the tripod legs were pretty much in the same place. That's all that's available. So like a good 1920 photographer, you solve the problems as best you possibly can with your equipment available and take the picture.

Photography is about light. Something is lost when light is constrained to 3 stops. What's lost is the feeling of LIGHT! I LOVE the flare in the details of the desk cubby holes. It just tells my brain light.

I think we've forgotten that photo-graphy literally means light-painting.

warehouse desk & chair​

 

[Asher Kelman]

Photography is about light. Something is lost when light is constrained to 3 stops. What's lost is the feeling of LIGHT! I LOVE the flare in the details of the desk cubby holes. It just tells my brain light.

I think we've forgotten that photo-graphy literally means light-painting.

warehouse desk & chair​

This, Jim, is going to be a reply that I'll return to! It's a reminder of the medium we work with, light. That given by heaven put's us to the test, but can deliver the best!

Asher

 

[Asher Kelman]

Roy Jealous of Him, Wounded Knee, South Dakota

​

James,

Such character and feeling! I hope you gave copies. That's something I need to do more of!

Asher

 

[Asher Kelman]

Some shots from a school visit in Wuhan, China and one from a Yangtze Cruise.

Graeme McKellar : Happy Life

​

Yes, indeed, Graeme, he looks like a corporate giant at a company picnic! This is one happy confident & well-adjusted fellow!

Graeme McKellar : Flower Girl

Graeme McKellar : Wuhan Schoolgirl

Graeme McKellar : Yangtze Cowgirl

These are delightful, Graeme! Amazing how clothing is so Western and that these could very well have been taken at an American baseball game or carnival. Except, maybe, now that I think of it, the girls are just a tad more shy!

Asher

 

[James Cook]

James,

Such character and feeling! I hope you gave copies. That's something I need to do more of!

Asher

I went to Wounded Knee many times over a period of years. The poverty was incredible.

I made it a point to always return with a fistful of prints, which led to a comment I've always remembered. Ruth Black Bear told me that many people have come and taken pictures. I was the only one that brought pictures.

It was at that point that I realized how few of them had photos of themselves since they couldn't afford cameras or film or processing.

 

[Asher Kelman]

I went to Wounded Knee many times over a period of years. The poverty was incredible.

I made it a point to always return with a fistful of prints, which led to a comment I've always remembered. Ruth Black Bear told me that many people have come and taken pictures. I was the only one that brought pictures.

It was at that point that I realized how few of them had photos of themselves since they couldn't afford cameras or film or processing.

James,

You're a good man! We should follow your example.

Asher

 

[Asher Kelman]

The Art in The Park show each year in along Santa Monica Boulevard is a great place to find wonderful subjects for photography. I'll put together a series shortly, but for now, here's a picture of a boy who had been climbing in the trees!

Asher Kelman: Boy in Tree

Canon 5DII 50mm 1.4 at f4.0, 1/200 exposure +0.7 EV​

I feel so privileged that his mother gave her approval. I must send them the pictures!


Asher

 

[fahim mohammed]

Asher, a charming capture. I wonder if it is the same tree you have shown before; since I commented then what a wonderful tree for children!

Re: the capture, it is softly done and you did well to keep the bg highlights in check ( pp ? ). The texture in that satin ( ? ) shirt is well managed. Are you sure this is a boy!!

Me I would have gone and let them blow out!

 

[Asher Kelman]

Asher, a charming capture. I wonder if it is the same tree you have shown before; since I commented then what a wonderful tree for children!

Re: the capture, it is softly done and you did well to keep the bg highlights in check ( pp ? ). The texture in that satin ( ? ) shirt is well managed. Are you sure this is a boy!!

Me I would have gone and let them blow out!

Yes, Fahim, the very same one!

I wondered that! But there was his mother! When I check with her, I'll get the name. I was a little perplexed. Maybe he's just a boy angel!

Asher

 

[Mark Hampton]

.

this seems to fit in this thread.​

extract from hunting the last people - M Hampton ​

.

 

[Cem_Usakligil]

...extract from hunting the last people - M Hampton

He must have been the hunter who's caused the near extinction.

 

[Mark Hampton]

He must have been the hunter who's caused the near extinction.

cem,

looks that way ! and the hunt wasnt easy on him


nice to c your back !

cheers

 

[Mark Hampton]

.

annasdad - M Hampton

​

 

[Asher Kelman]

Mark,

What an interesting presence! How did you find him?

Asher

 

[Mark Hampton]

Mark,

What an interesting presence! How did you find him?

Asher

Asher,

He was the father of the bride at a wedding we went to in Rome. He was an intreasting person to speak to.

Cheers,

Mark

 

[Asher Kelman]

Well here's the 2cd generation set builder for the Good Man's Shack designed by Mason Cooley for the opera Crescent City. As I'm documenting the making of the opera, I'm taking advantage to also make some portraits of the denizens that do their creative magic to make it all happen.

Asher Kelman: Master Set Builder

Canon 5DII 50 1.2 L at 1.4​

 

[Mark Hampton]

Well here's the 2cd generation set builder for the Good Man's Shack designed by Mason Cooley for the opera Crescent City. As I'm documenting the making of the opera, I'm taking advantage to also make some portraits of the denizens that do their creative magic to make it all happen.

Asher Kelman: Master Set Builder

Canon 5DII 50 1.2 L at 1.4​

Asher, did you notice his pose mirrors the poster behind him to the left... I like this

 

[Asher Kelman]

Asher, did you notice his pose mirrors the poster behind him to the left... I like this

Only after I took the shot! Thanks for stopping by. This fellow is a genuine craftsman, one of the under sung and someone who would like Tom dinning, support the concept of the "artsy fartsy, although, being a professional artisan and earning his living devoted to the stage, he's not ever be that caustic, at least not beyond him and his crew.

Asher

 

[Asher Kelman]

So my muse came to visit.

Asher Kelman: Muse paying late afternoon visit!​

Thanks to Yeney!

Asher

 

[Michael Nagel]

This is the closest I have for this challenge. No artificial lighting, not staged at all.

Fuad​

Best regards,
Michael

 

[Jarmo Juntunen]

The Generation Gap

Not a portrait, I know...

 

[jake klein]

I'm sure I've posted this already but it fits the criteria.

 

[jake klein]

 

[fahim mohammed]

 

[Asher Kelman]

This is the closest I have for this challenge. No artificial lighting, not staged at all.

Fuad​

Michael,

He has a pleasant and friendly affect.This does look natural with the reflective skin and the easy smile, like he was caught in the middle of some job at hand.

Asher

 

[Asher Kelman]

The Generation Gap

Not a portrait, I know...​

Jarmo,

But really it is. Why not have a grandmother trying to rest beset with an adorable playful energetic grandchild. We show portraits of farmers on their land and craftsmen in their workshops, so why not here too?


Asher

 

[Asher Kelman]

I'm sure I've posted this already but it fits the criteria.

Well Jake,

It's good picture! I'm happy to see it again!

 

[Bob Latham]

Suave, handsome, sophisticated....

Okay, we'll perhaps forego the "sophisticated" bit

 

[Ian kydd'Miller]

Little Girl in Cambodia

Ian Kydd'Miller: Cambodian Little Girl​