PictureADay projects: February 2010: Portraits

[JimCollum]

February has started... For those tired of the trash of my life.. here's the next month's 'project'


February 2010
I've been living in the Santa Cruz, Ca region for over 20 years now. There have been people I've passed weekly while walking through town, in parks, who I've seen time after time. I don't know them, don't know their story.. but i know their faces. For February, I'll try to meet many of them, learn their stories, and ask to borrow their likeness for record. Their stories will remain mine (... for those in the area, the opportunity is there for you to learn if you wish it), but their likeness will be posted here

February 1 2010
Pan - Philosopher - Santa Cruz

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[Paul Abbott]

Jim, I forgot to mention that your industrial images over on your site are so beautiful and well taken, I really really like 'em.
One of 'em reminds me of Lewis Baltz's photograph - Element #27. I have it in a book, but I cannot find it online.

 

[JimCollum]

Jim, I forgot to mention that your industrial images over on your site are so beautiful and well taken, I really really like 'em.
One of 'em reminds me of Lewis Baltz's photograph - Element #27. I have it in a book, but I cannot find it online.

Is this the image?

(copyright Lewis Baltz)​

 

[Paul Abbott]

Yeah, that's the one.

 

[JimCollum]

Yeah, that's the one.

I've looked thru his other work.. I'm honored to have work compared to his.. Thank you!!!

 

[JimCollum]

The first 4 from February

01 Feb 2010
Pan - Philosopher - Santa Cruz

02 Feb 2010
Ian - Mechanic/Engineer - Narrow Gauge Railroad

03 Feb 2010
Fisherman Mark - Not A Fisherman - Felton

04 Feb 2010
Christina - Waitress, Mother - Santa Cruz

 

[Asher Kelman]

Jim,

It's noticeable that all the folk here have strong eye gaze. How did you instruct them, or do you happen to select faces with such a strong look.

Asher

 

[JimCollum]

Jim,

It's noticeable that all the folk here have strong eye gaze. How did you instruct them, or do you happen to select faces with such a strong look.

Asher

As part of this phase of the project, each person I photograph, i've sat with and engaged in conversation. It's usually 15 min or so after i introduce myself that I actually take some shots. I take a couple initial 'candid' ones, and then ask them to look at me when i'm shooting (although i'm behind the lens all the time.. handheld). usually take about 6 shots total for each person.

Even though I have some shots of Pan looking directly at me, I felt the image of him gazing 'internally' was more suited to who he was.. very much a mystic.. with a very direct inward gaze

 

[Asher Kelman]

Even though I have some shots of Pan looking directly at me, I felt the image of him gazing 'internally' was more suited to who he was.. very much a mystic.. with a very direct inward gaze

So, which one of pan did you show? Also do you think the impact would have been different if you would do a full length portrait.

Asher

 

[JimCollum]

So, which one of pan did you show? Also do you think the impact would have been different if you would do a full length portrait.

Asher

In this pic, Pan is looking slightly off to his right and down, rather than directly at me. I had asked him a question, and he was deep in thought

Yea.. i think a full length would be diminished given the venue i'm showing these in. The 'person' doesn't come thru in a full length at 900pix size. If i were doing a larger print (16x20 or larger), then i might do the full length shots

 

[Ken Tanaka]

Jim: Two suggestions.

1. You need to revisit your focusing technique. Nothing appears to be in sharp focus in any of these portraits. I suspect you're trying for the wide-open-retro look but to make it work you have to get at least one eye in sharp focus.

2. Your framings aren't grabbing me. You're forcing everything into a square frame (I assume you're not using 6x6 film?) which is fine. But your bulls-eye compositions need to be much closer and your eccentrics need to pay closer attention to background space and subject locations.

Generally, it looks like you've engaged most of your subjects nicely but you're standing too far off and seem nervous.

 

[JimCollum]

Jim: Two suggestions.

1. You need to revisit your focusing technique. Nothing appears to be in sharp focus in any of these portraits. I suspect you're trying for the wide-open-retro look but to make it work you have to get at least one eye in sharp focus.

2. Your framings aren't grabbing me. You're forcing everything into a square frame (I assume you're not using 6x6 film?) which is fine. But your bulls-eye compositions need to be much closer and your eccentrics need to pay closer attention to background space and subject locations.

Generally, it looks like you've engaged most of your subjects nicely but you're standing too far off and seem nervous.

Ken!

I hope you know that I really appreciate the time and effort you put into looking at my images.

1. I know that the last image of Christina had the focus slightly off.. the other shots of her had the eyes more in focus.. but they didn't capture her essense as much as this shot did.. I felt the compromise was worth it. The other 3 images have the eyes tack sharp (well.. Pan you can't see the eyes, but for me the critical part were what was substituting for the eyes

(oh.. the DOF of this lens at that distance is about 1/8 " I need to use a magnifier in the viewfinder when shooting

2. I'm not quite sure what to do with this one though.. This project is using the one lens, and shot in the same format (Zeiss 110/2 planar & 1:1 aspect ratio). In all of the portraits, I was at the minimum focus distance of the lens ( they were sitting across the table from me )

Typically, the way I work, is I see in whatever framing I'm working in. Often I've worked in 7x17 or 4:3 (most common 2), and regardless of what I shoot... that's what I've framed with. Just as a matter of practice and work, I'm not one who crops outside of the camera. When I look thru the lens, that's what I'm hoping on capturing on paper eventually. The camera I'm using isn't 6x6cm film.. but I do have a 1:1 crop in the viewfinder, as well as on the file when captured.

So even though there are some other projects that I'm working on (Hometown) that don't 'require' the 1:1 aspect ratio.. Since I'm seeing in that 'crop' for the POD project.. then that's how i'm seeing in any of the other projects I'm doing.

.. and nervous? yea.. definitely.. I'm an introvert.. *very* much an introvert.. and I *never* approach anyone to engage in conversation (in any social setting, i'm usually standing off by myself, or behind a lens..where i'm a lot safer). I hope that by the end of this month, i'll be a little more sure of myself when approaching people

 

[Ken Tanaka]

It most certainly is often difficult to discern focus when viewing tiny 72 dpi images on a lumimnous screen, particuarly with the tonality range of your images and when there's no clear spot "tell" such as eye shine or other specular highlights. That's one of the many reasons why it's generally a waste of time trying to evaluate online images in any detail; only prints really count.

One of the "tricks" for making monochrome online images sparkle just a bit more is to change the luminance of a spot you want to highlight as sharp. Try this in the panhandler image. (The other three offer no such opportunities.)

 

[Rachel Foster]

Ken, I don't want to impose on you for details about how to do this, so I'll simply ask if anyone has a link to a "how-to" handy?

 

[Paul Abbott]

I admire you for what your doing and stepping out of your comfort range to talk to these people. I did the same for my Homeless Project, as that was a good way in getting some feeling into my shots.
If you don't ask, you don't get. Simple.

This here is a portrait of a guy who kind of struck me with a little fear and apprehension in confronting him. I threw caution to the wind, 'cos I just kept thinking about the image I would get.
I hope you don't mind me posting this image here, if you do i'm sure Asher will remove it, or myself in time.

Paul Abbott - Dan, A Homeless Portrait​

 

[Rachel Foster]

Whoa! And let me and a "wow!" That's an amazing portrait. Paul, do you know if those are prison tats?

 

[Ken Tanaka]

Ken, I don't want to impose on you for details about how to do this, so I'll simply ask if anyone has a link to a "how-to" handy?

For example: from Photoshop (any version),
1 create a "curve" or "levels" adjustment layer,
2 first nudge mid-tone level to make the reflection in the left lens shine JUST A BIT,
3. then pinch shadows/highlight to taste.
4. Bucket wash the adjustment layer's mask black,
5. Brush white hole in this now blacked-out layer mask to apply the adjustment to only the lens.

There are several other ways to do this but I think you get the idea.

This is as far as I deemed appropriate to take this adjustment on Jim's image.

I think it's enough to illustrate my suggestion although I can't honestly claim it makes it work terrifically.

About five years ago I shot this portrait that features a similar wide-open-iris design and better illustrates the suggestion. (I'm by no means a portraitist.) That sharp catch-light in the eye and the shade cusp along the cheek are what hold the image together.

Look through some of Yousuf Karsh's studio portraits for truly wonderful examples.

 

[Rachel Foster]

Thanks, Ken. And that's a wonderful portrait.

 

[Paul Abbott]

Whoa! And let me and a "wow!" That's an amazing portrait. Paul, do you know if those are prison tats?

They could well be Rachel, I didn't ask. Thanks.

 

[Ken Tanaka]

They could well be Rachel, I didn't ask. Thanks.

Funny anecdote. I came home late last night and thought I'd watch the new Star Trek (2009) film that I rented from Apple's iTunes. (That cheap rental was more than it was worth, btw.) I had this thread, and Paul's spiderman shot on screen at the same time a character in the film with similar tattoos appeared in the iTunes movie window. Momentary grin.

 

[Paul Abbott]

That is funny, he even has the same expression.

 

[JimCollum]

Feb 5 2010
Clint - Harmonica & Guitar - Santa Cruz

Feb 6 2010
Kat - Waitress - Santa Cruz

Feb 7 2010
Mary - Teacher - Santa Cruz

Feb 8 2010
Edward - Sculptor - Santa Cruz

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[janet Smith]

.. and nervous? yea.. definitely.. I'm an introvert.. *very* much an introvert.. and I *never* approach anyone to engage in conversation (in any social setting, i'm usually standing off by myself, or behind a lens..where i'm a lot safer). I hope that by the end of this month, i'll be a little more sure of myself when approaching people

Hi Jim

It would seem by the happy confident friendly faces here that you must be feeling more confident when approaching people now, I really like the photograph of Edward what a lovely expression you caught, but there again, I like them all.....

 

[Jim Galli]

These are a visual treat. Thanks!

 

[Ruben Alfu]

Another thanks here!

 

[JimCollum]

Feb 9 2010
John - Woodcutter - Felton

Feb 10 2010
Nate - Narrow Gauge Engineer - Felton

Feb 11 2010
Charlie - Home Builder - Scotts Valley

Feb 12 2020
Tori - Musician - Santa Cruz

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[JimCollum]

13 Feb 2010
David - Artist, Painter - Santa Cruz

14 Feb 2010
James - Off the Grid - Hills above Santa Cruz

15 Feb 2010
Esteban - Friends of the Earth - Santa Cruz

16 Feb 2010
Scott - Engineer -Scotts Valley

 

[Rachel Foster]

Wonderful series, Jim.

 

[Jim Galli]

Wonderful series, Jim.

Yes, yes!

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[Asher Kelman]

Jim,

I'm enjoying each of these photographs. I love meeting new people and that's what happens with every picture you show. start imagining their stories.

Asher