Singer and guitarist Jamie McLean opening for the Dirty Dozen Brass Band in New Orleans. This is one of my most successful Lensbaby shots and the reason why I still occasionally try to use the Lensbaby in low lit concert halls despite the challenges.
Arman’s statue « L’Heure pour Tous », just outside Saint-Lazare train station in Paris is a constant subject of fascination to me. I have tried to capture it on photo many times, and this interpretation is the most interesting so far. I like how the pigeons nest there, oblivious to the fact that they live within art.
One of the major differences between concert shots today and concert shots 50 years ago is that with the equipment available back then, low-light photography was necessarily constrained. Today, high-ISO capability and really fast lenses means that often you can capture a hell of a lot of detail. However, as I was looking at some of these old pictures I found that there was a mood there, an esthetic of embracing the shadows that was rarely found in my concert photography. This portrait of Will Holhouser playing with David Krakauer’s Klezmer Madness is an attempt at embracing those shadows.
Last Friday, a little before I left work, I was scanning work related tweets and I see a new link about Fastweb’s recent announcement in the realm of Optic Fiber. That’s the area I work in, you see. Coincidentally, I have also been doing some Optic Fiber photography. It’s an area I have been experimenting [...]
One of the wonders of doing long exposure shots of water is you don’t really know before hand what the final picture will look like. That’s because you’re never quite sure what amount and texture of light will be hitting the water during the exposure. It’s only when I was processing Mercury Sea ( a shot of the cove of Port Mélite in Groix) that I noticed that metallic glint on the water that really makes the shot (in my opinion).