Sunday, June 28, 2009

THE SKY FELL IN TODAY ...

I was seventeen in 1967 and in love with radio; a love affair that began when I was eight listening to my Dad's Zenith® radio, set me on the path to my career on-the-air and became the love in my life, for the rest of my life.

I lived a decade that one summer, spending afternoons under the influence of those moments: picnics by the Griffith Park merry go round with my first real girlfriend, Peggy; my best friend since 6th grade, Howard; and my AM radio which was dialed into Boss Radio KHJ, Los Angeles.

One group from my summer of '67 soundtrack was Sky Saxon and The Seeds. Pushin' Too Hard and 'Can't Seem To Make You Mine had been huge hits for this psychedelic rock entourage that featured Sky's unique vocals.

40 years to-the-summer later, I'm photographing the Summer of Love Concert at the Monterey Fairgrounds: site of the famous 1967 Monterey Pop Festival where Jimmy Hendrix set his guitar on fire while playing on stage.

It may have been forty years prior but I was standing in the same venue and on the very same stage. There were vibes in the air from those who were there: The Who, Otis Redding, Mammas and Pappas, Janis Joplin. The sense of history draped around me like a cape, the music of that June summer concert playing back in the background of my mind.

While adrift in this flashback, a man taps me on the shoulder and asks if I have a light. I turn and encounter a vision straight out of 1967: long hair, stovepipe pants under a Nehru tie dye jacket with that paisley lining and a joint in his mouth.

"Thank you, man. I'm Sky Saxon," he said.

"No you're not," was my incredulous reply.

But it was him: that Sky Saxon from my Summer of '67 and he was standing right next to me.

He had come to this Summer Of Love reunion to feel the vibe once again, hoping to sit in with one of the bands. But for me, this-fifty-seven year old, his presence rekindled memories of my most-magic summer from forty years ago.

We talked music, radio and rock 'n roll.

Well, he talked. I listened.

Suddenly I was 17 again, listening to Sky Saxon and The Seeds' tunes blaring from the radio in Howard's '65 Malibu.

From our conversation, my inference was that life after the music died had been a difficult ride for Sky. But he stayed true to being a musician and clearly made the 60's his life's baseline.

I took this image of my girlfriend with Sky and, for this one frame, he presented the peace sign as his visual signature. I had a feeling when I filed away my images from the Summer Of Love shoot that I would see this one again.

Sky Saxon died yesterday.

He was reportedly 71 years old, and leaves behind "an unspecified number of siblings" [how 60's is that!] and the knowledge that his music was a fixture in the punk rock movement which would take place decades later.

I feel that part of me died yesterday, as well. The innocence, the freedom, the vibrancy that was 1967 came back for a visit when his path and mine crossed in the summer of 2007.

It's difficult to verbalize unless you were there.

Now one of us that was, is gone.

Peace sign back at you, Sky …



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Sunday, June 7, 2009

IN THAT SOMEWHERE BETWEEN ƒSTOPS, SHUTTER SPEEDS AND ...


...all that technical wizardry, you can lose sight of the fact that photography is - hello! - supposed to be fun!

And with the confluence of Photoshop®, you can while away a Sunday afternoon, taking one of those ho-hum party snapshots into the dark places of your mind and create something that makes you smile.

And your friends wonder.

And confirms your fifth grade teacher's opinion that you desperately needed professional help.

I've always said that if the guy who sat next to me in high school had studied harder, I'd be fat, filthy rich and really famous by now.

So one out of three ain't bad, right?

My girfriend and I went to a retirement party and Elvis was there. Yeah. I couldn't believe it either.

She took this image with her point-and-shoot and it turned out soft and fuzzy. And here she got Lasik® surgery because she was told her pictures were sharp but her eyes were fuzzy. Damn Costco …

So this was my starting point. Nice, huh?

One of my favourite avenues to travel with problem images is to take them into Photoshop®, bring on the threshold filter and turn the image into pure blacks and whites.

Prior to that I removed the background elements [aluminum siding, ladders on the ground]

[I hate when someone presents a technique but leaves out the one critical bit of info' that makes the whole effect possible and I'm up all night trying to figure out where the hell I went wrong].

From there, my dysfunctional copywriting mind came up with a catchy headline, which is an overlay with the blending mode on 'Colour Burn' to achieve that affect.

My point is that creating this questionable work of art [!] started with one of those snapshots that would have never gotten a second look. Except when they go looking for pictures to project at your funeral. No doubt this gem would have somehow been shown at mine.

Now they'll find this cool movie poster of me 'n The King to show. [The original colour .jpg was erased by a deranged kitchen magnet]

And I know there will be comments of "…Bob really needed someone to talk to about his issues."

But they won't say I look fat …
[An adjustment made that I did not disclose in the above description. I know you understand ...]


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Tuesday, April 7, 2009

ONE LIGHT … ONE-DERFUL


I'm told the Greek translation of 'photography' is literally "writing with light."

When it comes to portrait images, that light can translate to three, four, even five lights to 'get it right,'
as they say. It occurs to me that 'they who say' may well be those who sell lights with which to write.

This ain't my first rodeo,
you know.

If memory serves, The Masters had just one light to work with and it was made by God, not Profoto®.

I am intrigued by the shadows in life and prefer my portraits low-key, dramatic images; some of which may not have the textbook separation of subject from the background.

I like the light's sole focus to be on sparkling eyes and the sly smile of my subject who seemingly slips out from the shadows surrounding her; the kiss of light that, in this image, partially reveals a hat that adds to the image's storyline.

And transforming this image into B/W for a 50's film noir look, has me searching in that dark background for a lurking Dana Andrews or Sidney Greenstreet or Bogie in a fedora hat.

It isn't perfect. It is art.

And as Ricky Nelson sang on Garden Party back in 1972,
"…you can't please everyone,
so you gotta please yourself."

Ricky didn't write with light.

But he certainly saw it …


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Saturday, April 4, 2009

LOST IN NEW YORK … AND LOVING IT

I fell in love with New York City in the summer of 1976, despite being brain-washed while growing up in Southern California about the perils/pitfalls/perversions of Manhattan.

Hey, some of my favourite words begin with 'p' …

The love affair is stronger today than ever as I fly into Manhattan four or five times a year to immerse myself in a New York State of mind.
[Insert Billy Joel song here].

If you, too, are a portrait shooter, you cannot have a better model. New York City radiates in any light, she wears no makeup and brings an attitude that - if you can capture it - creates iconic images bursting with storylines.

Last week, I took the C train to Brooklyn, got off at High Street and walked. And walked. And walked. Six miles of walking … leaving my hotel at 11am, walking back in just past midnight.

And for every moment of my grueling thirteen hour photo shoot, my Manhattan model looked purrfect, illuminated by the ever-changing natural light.

[The strobe with enough power to light the bridge from Manhattan back to Brooklyn was out of stock at B&H …]


These are B/W conversions which I prefer as colour sometimes gets in the way of the story I see, which is not to say that the Manhattan skyline shot at dusk in full colour isn't a powerful image.


While I like this postcard image, I've seen it before. Letting my imagination run - with the help of some post-production - and my end result is something I haven't seen before … an image that conveys a totally different story:


BTW, you can double-click any of these images for a larger view.

So I recommend getting lost wherever you go …
and bring your camera.


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Monday, January 26, 2009

MOLDING WITH CLAY …

Clay Blackmore really lights up a room.

Or a parking lot.

This image is not studio-shot. The young woman is standing in the circular driveway of The Holiday Inn in San Francisco, gazing out at the traffic on Van Ness Avenue.

It's 1:30 in the afternoon.

Shooting side-by-side with Clay is a wonderful experience that I've enjoyed in cities around the world: on the cobblestone streets of London, in La Rochelle and Normandy and Paris, France, and walking through The Cloisters in upper Manhattan.

His images are beautifully lit moments, captured by Clay's remarkable, immediate rapport with his subject, an uncanny eye for natural posing and a masterful control of light. FYI, he is a Canon® Explorer of Light so, as someone once said, "this ain't his first rodeo." Then again, they may not have been talking about Clay …

The splash page image of me - that's the landing page here on my web site - was captured by Clay [www.bobray.net] in natural light, as I was sitting in a café across from The Louvre in Paris, though the dramatic lighting suggests it was taken in a studio.

It is one of my favourite pictures taken of me but I confess the Rollei is Clay's.

I really should return that ...

Two espressos later, here is my image of Clay.

It's one of many powerful images I captured in our two days shooting together, walking around Paris from sunrise to sunset.

I've always said if that kid sitting next to me in high school had studied harder, I would have made one helluva doctor. Or barrister [that is not the same as "barrista," just for the record].

So I'm working that theory 42 years later by keeping close to Clay. This time, I think it might work out.

My images are molded with a lot of Clay in them.
And I'm very grateful …



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Sunday, January 25, 2009

BANDIT'S CURTAIN CALL ...

I believe photography is life's book-marker for personal experience: a visual recall for family or friend or feline.

Bandit, my faithful partner who shared life with me over the past eighteen years, left the planet and my side yesterday. I have had cats in my life for the past 30+ years and - if you've had pets you know - they are your family, your kids and your best friend rolled into a ball of fur and unconditional love.

When my wife of twenty-five years left me for cause over twelve years ago, she left behind our cats as she knew I would need them to help me make it through the dark days ahead; to regroup and move forward, the three of us as one. It was Meg, Bandit and me going through life rehab' together.

Meg was a bundle of love in the body of a cross-eyed Siamese mix. She lived to be twenty-four - a hundred-years-plus in 'cat years' - and, I do believe, passed on the care and feeding of her human to Bandit. Many was the morning I would sleep in with both Meg and Bandit, cherishing that experience with them over the repetitive grind of office work. Part of my moving forward was realizing that, at the final curtain, no one ever said, "I wished I had worked more."

I never envisioned this day: a time when neither of them would be with me.

Mine is a lonely house tonight; the first evening in thirty years with no cats by my side. It is silent, the mood is somber and I am cold.

I remember taking this image of Bandit to memorialize a Sunday afternoon a few years ago, the two of us staring out the bay window blinds from our special spot in the family room, each of us thinking "we've come to this place together, us two, and life is good."

Life will go on, this hole in my heart will mend but it will never heal. Nor do I want it to.

And this image will always remind me not only of Bandit and our time together but also of the importance of photography in the lives of the people I shoot for ...including me.

Good Night, Bandy …


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Friday, January 23, 2009

LIGHTING IT UP WITH JOE ...

I flew from California to Dobbs Ferry, New York, to take a one-day workshop from Joe McNally: reknowned lighting master, award-winning photographer and likely the most down-to-earth guy you're going to meet in this business.

Nikon® shooters are aware of the amazing wireless lighting capabilities with SB800's and the new SB900 small flash units: the ability to control your flashe[s] [TTL + manual] from your camera rather than by the conventional avenue of sneaker-net. 

Joe is a master of stringing together many, many of these small flashes to create amazing images from lighting setups that defy description: some very simple, others extremely complex, all of them incredibly impressive.

And Joe is equally facile with light modifiers the size of the Chrysler building which can throw light huge distances. Like from New Jersey up the Hudson to Dobbs Ferry. Well, almost.

Joe wrote the book on small flashes. It's called Hot Shoe Diaries, due MAR 09 and you can order your advance copy here or wherever you pay more for your books. Pre-order is over 10,000 copies so know that this is something special.

Flying six thousand miles for a one-day workshop may seem a bit over-the-top. If you get the opportunity for a day with Joe McNally, take the next plane. Or let me know so I can take your place.

It was a day to see the light in new, creative ways; innovative techniques shared by instruction and performance; a day to watch and learn from the master. www.joemcnally.com/blog/

Thank you, Joe …



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