I’d like to tell you why I keep rejecting work. I copied this from my About page, as it is a nice preface of what I want to get across:
I finished the School of New Generation of Wedding Photographers, graduated from Novus Art School and became a state certified photographer in Hungary. While I studied a lot during my education, I learned the most from a series of mentors. Some of whom were artists and some were applied photographers, but one thing was common: they were all human in the words greatest sense and great personalities. You can teach your students tech and history, but if they don’t get the human aspect of it, then it is all for nothing.
”I take great care not to take assignments that I don’t have my heart in 100%”
In the beginning, I was focused in getting more and more work. I was working for free, for money, for charity. I wanted to collaborate to reach more and more people. I accepted work that I was unsure I could pull off. This resulted in learning pretty quickly, but when I started doing weddings, I knew I could not continue.
Since my first wedding, I knew that if I don’t know what I’m doing, or unsure if I can deliver that 100%, I must stop, or I’ll ruin the biggest day of people who trust me enough to grant me the privilege to be the only photographer at their wedding. There is no such thing as: – Let’s get to it, and we’ll figure out later!
Then as years have passed, I started applying the same principles on other type of photoshoots and I thought this is what makes a professional photographer. I could’ve not been more wrong. While I was getting results I wanted and the images were technically okay, more and more shoots lacked my soul. I felt that while I’m putting the most hours and effort into these events and I’m delivering the products and services to my clients, something is missing.
Then as a full time photographer, each morning when I went out for a photoshoot or opened Adobe Lightroom to process the images I asked myself: Are you ready to give your best? Will this be a better day than yesterday? Are you confident that this is what you want to do?
Yeah! Of Course! As always! And such were my answers, but the conviction was lacking behind these words. So I bought myself a perfectly brewed cortado at my favourite coffee shop and confronted myself. I figured out that This is not what I wanted to do!
” I don’t want to do what I don’t what to do! ”
What? Photography? No. I don’t want to do what I don’t what to do! So, I stopped taking weddings, portraits, fashion shoots, concerts that I had a bad feeling about. Did I make less money? Yes. Did I unload a copious amount of stress in my daily life? Yes. Did it allow me to focus more on photoshoots that I did want to do? Absolutely.
So here I am. I take great care not to take assignments that I don’t have my heart in 100%. This is the reason that I reject a lot of work and guide a lot of my clients to my fellow photographers, who I know will deliver excellent value.
Shooting a concert in documentary style was something that I always wanted to shoot. A few years ago I got my first chance of it, when Ozone Mama and some other band was playing at Barba Negra track. Only the small stage was open, and while quite a few people showed up, it wasn’t a mega concert. Fortunately who did show up went crazy, and the place was almost packed!
I tried to create memories that would bring back the feeing being there. I focued on storytelling. The interactions between the band and the fans, and also friendship and tensions between band members. I hope you will find the small nuances that I accidentaly or deliberately left in the image that make it tell a story.
When I’m back from a photoshoot, I throw out all the files that are technically bad. They are blurry or the composition is very off. And I do this on the memory card, I don’t even copy them anywhere! Then I import them to my project onto my computer and go through each picture and see if they tell a story or not, how much does this picture worth to me personally and to my client? How much further does this image let me towards my goal of delivering what I was commisioned for? This grants the image a number from 1 to 5. I never hand over images that are 1 or 2. If I can manage, I only use grade 4-5. If it helps to move the story forward, I include a couple of 3s, but rarely.
”Shoot what you want, how you want to”
It is really important to shoot for yourself, not just the client. Of course, if you’re getting paid, you have to deliver what the client orders, but if your product has a certain plus, it will definetaly add to the value your clients are getting. So look for micro-stories next time you’re on the job.
Now as I look back to this concert documentary, I can feel the summer heat and the blast of vintage rock n’ roll. It was one of my best experiences as a music photograper.
This was exactly what my client asked of me, so I delivered.
What? You mean there is a hotel in that building? Okay, the front is nicely remodeled, yeah, there are new windows now that you mention it, but … WOW! – I entered in Mystery Hotel Budapest with a few professionals just a few days before the official opening, so that I can get a glimpse of the place I’m going to shoot the spring portfolio of Loft Outlet in 2019. I know this might be a pun, and it is not intended, but the interior designers really made magic. The whole place is just awsome!
The place had a troubled history and without going into details, it was always connected with superstition, so it was a no brainer to turn its haunted history into an advantage. Rooms are themed, so whichever one you book, you’re sure to be surprised. Colors, wall arts and furniture are all carefully picked and restored or created in a unique style that will be talking about it for a long time.
This stylish interior gave a great base of operation for our photoshoot. The wild colors and patterns of the walls complemented the Italian design clothes the models were wearing.
We had a car, a Maserati Ghibli from the good people of Wallis. We also had a cinematographer recording out photoshoot!
Some tech stuff ..
The hotel opened its gate about a month before the shoot, and I had the privilage to see it before. It was an invaluable experience, because I already had an idea where I’d want to take pictures on the live photoshoot. I had a glimpse of the lighting conditions, but I knew I’d need my trusty 600W mobile studio strobe for this work.
This was the first shoot since I moved from Nikon to Sony. I bought minimal gear to speed up the shooting process. An ultrawide and a short telephoto was all that I needed to capture these images.
I started painting miniatures and play the wargame Warhammer 40.000. A lot of my mates are painting and photographing the miniatures as well, and I thought I’d help them with a few good advices. I already made a video that contains a lot of theory, but there were a lot of requests for visual aids. I talked just about everything, but I tink its best if I show you tips little by little. Now I’ll show you how to photograph with natural light and things you find at home.
Pár hónapja elkezdtem festegetni miniatűröket és elkezdtem játszani a Warhammer 40.000 játékkal. Sokan festenek és fotóznak körülöttem és úgy gondoltam, hogy segítek nekik pár jó tanáccsal. Már készítettem egy videót, amin összeszedem az elméletet, de sokan kértek gyakorlati, vizuális segédletet. Mivel nagyon sok mindenről beszéltem, csak kis részletben tudom átadni a tudást. Most a természetes fénnyel és otthon fellelhető kellékekkel való fotózást mutatom meg.
Window light is the best. For a white background, get an A4 size paper, bend it, put your mini on it, then just take the photo. It will look as it is in a lightbox, as there are hardly any shadows. If shadows are a problem, draw in the white curtains, that will make the light softer. The photo on the right was made with my not so new mobile phone.
Now that you saw that you can create a shadowless image with a white background like you would in a lightbox, lets move on with the fun stuff, okay?
Az ablakból jövő fény a legjobb. Sima fehér hátteres fotóhoz fogj egy A4-es papírt, hajlítsd meg, tedd rá a modellt és fotózd le. Olyan, mintha lightboxban lenne, hiszen alig vannak árnyékok. Ha túl sok lenne az árnyék, akkor húzd be a függönyt, az ellágyítja a fényet. A jobb oldali képet egy modernnek már nem mondható mobiltelefonnal készítettem.
Most, hogy túl vagyunk a mobilfotográfián és láttad, hogy lehet lightbox nélkül is lehet fehér hátterű, árnyékmentes fotót készíteni, menjünk tovább.
Taking photos with a camera
Lets get the camera out I used a Nikon D750 with a Nikon 105/F2.8 G If Af-s Vr micro lens. I used this, because this was at hand, as I use this for business portraits as well.
The camera body is not really important, lens is what this is all about. For best results, use a macro lens. If you don’t have one, then get a telephoto lens. If you have none, but have a zoom lens, set it to it’s “tele” setting. For example if you have a 24-70mm, then set it to 70mm, where you’ll get the biggest magnification.
In case you have a prime lens, lets say a 50mm, then it might be worth to buy an extension tube. You put this between your camera body and your lens, and there you are, you have a “macro” lens. There are tons of extention tubes. You can buy the cheapest, because you will set everything by hand (in manual mode).
If you only have a kit lens, but an EUR/GBP/USD 30 won’t break the bank, buy an M42 adapter for your camera body, an M42 extension tube and an M42 50mm prime lens. You can get these in shops, flea markets, Craig list, eBay, etc ..
What is important is that my camera was on a tripod all the time. First I tried my travel tripod, that’s weight capacity is 1.5kg, but the Nikon was too heavy for it. It didn’t collapse, but the picture we’re blurry as the movement of the shutter rocked the whole thing. Then I broke out my big Giottos tripod that has a 6kg capacity with a tripod head that can hold 16kg. The blurryness stopped.
Vegyük elő a fényképezőgépet. Én egy Nikon D750 típusú gépet használtam, Nikon 105/F2.8 G If Af-s Vr micro objektívvel. Azért ezt, mert ez volt kéznél, ugyanis üzleti portréfotózásra is ezt használom.
A gépváz k.b. mindegy, az objektív a lényeg. A legjobb egy makró objektív. Ha ilyen nincs, akkor fogj egy teleobjektívet. Ha az sincs, viszont zoom objektíved van, akkor tekerd “tele” állásba, tehát például egy 24-70mm lencsén a 70mm állásba, ahol a legnagyobb nagyítást kapod.
Ha esetleg van egy fix objektíved, mondjuk egy 50mm-es, akkor érdemes hozzá venned egy makró közgyűrűsort (extension tube). Ezt az objektíved és a gépvázad közé kell csavarni és a lencséd innentől fogva képes a “makró” módra. Nagyon sok fajtája van, érdemes megvenned a legolcsóbbat, mert úgy is manuálisan állítasz be mindent.
Ha csak kit objektíved van, viszont áldoznál rá k.b. 10 ezer forintot, akkor vásárolj egy M42-es adaptert, M42-es közgyűrűsort és egy 50mm-es M42-es objektívet. Ezeket használtan k.b. bárhol kapsz, apróhírdetésekben, boltokban, börzén, akárhol.
Fontos még, hogy állványon volt végig a gépem. Először az utazó állványomra raktam a gépet, aminek a teherbírása csak 1.5 kiló, de a Nikon túl nehéz volt neki. Nem rogyott össze, csak bemozdultak az expók a zár csattanása miatt. Ekkor elővettem a nagy Giottos állványomat, aminek a teherbírása 6 kiló, az állványfejnek 16. Ennél már nem mozdult be.
Setting up the camera
Important: if you buy a tripod, then the capacity of the tripod (and the head) must be at least twice than what you’d like to put on it!
Fontos: ha vásárolsz állványt, akkor az állvány (és állványfej) teherbírása legyen legalább a kétszerese annak, amit meg szeretnél tartani vele!
If you don’t have a tripod, then put the camera on books, heavy boxes, but DO NOT shoot handheld. First of all the light is much less if you shoot by window light, than flashes or studio lighting, second: if you have a good composition, the tripod will hold that indefinitely. I mean if the composition is perfect, but you failed to set the exposition well and the image turned out to be dark. If the camera is on a tripod, you just have to turn a dial and shoot again and you’ll have the same composition, but with perfect settings.
Ha nincs állványod, akkor tedd rá könyvekre, nehéz dobozokra, de NE kézből fotózz. Egyrészt a természetes fény általában jóval kevesebb, mintha vakuval vagy lámpákkal fotóznál, másrészt ha van egy jó kompozíciód, beállításod, akkor azt bármeddig “megtartja” az állvány. Most olyanra gondoltam, hogy tökéletes a kompozíció, viszont az expót rosszul állítottad be és sötét lett a kép. Ha állványon van a gép, akkor csak csavarsz a tárcsán és újra tudod fotózni ugyanazt a képet, csak immár helyes beállításokkal.
Setting up the mini
A mini beállítása
Composing the image
I won’t go into details now, but try to balance the camera and make sure the miniature is completely in the picture. Except if you don’t want to. Then do as you like.
Ebbe most nem megyek bele bővebben, de úgy állítsd be a gépet, hogy a vízszintes vízszintes legyen, és beleférjen az egész modell. Kivéve, ha nem így szeretnéd. Akkor úgy, ahogy szeretnéd.
If you have autofocus, turn it off. When doing macro photography, you can rarely set the focus correctly. Especially if you’re using a full frame camera and you’re using a small depth of field. If AF is turned on, the camera will try to focus each time you hit the exposure button. This will make the lens turn and thus the camera will wobble. The same goes for stabilization (IS, VR). Nothing should move that is not supposed to.
So set your camera to manual focus. Turn on LiveView, so you can see what your lens sees. You can even zoom into the details. I usually zoom into the eyes and set the focus like that. After you set your focus, and do not move the miniature or the camera, then you don’t have to refocus.
Az autófókuszt, ha van, kapcsold ki. Makró fotózásban nagyon ritkán tudod pontosan eltalálni az élességet. Pláne, ha full-frame géped van és kis mélységélességgel dolgozol. Ha az AF be van kapcsolva, akkor minden egyes expó előtt újra fogja forgatni az objektív a belső lencséit, így megint be fogja rántani a képet. Ugyanígy, ha van stabilizátor az objektívben, akkor azt kapcsold ki. Semmi ne mozogjon, aminek nem kell.
Tehát a gépet állítsd manuál fókuszra. Kapcsold be a LiveView-t, vagy élőképet, hogy a gép hátulján figyelhesd, amit amit az objektív lát. Általában tudsz zoomolni is. Én mindig rázoomolok a figura szemére és úgy állítom be az élességet. Az a jó, hogy ha nem mozdítasz el semmit, akkor nyilván utána sem kell állítani.
Sensitivity (ISO): Set this to the lowest native setting. For me it is 100, even if the camera has a “LO” setting (ISO 50). This is an electronic alteration of the image. Look up the manual of the camera or the internet what this value is.
Apperature (F value): If your plan is to have only a part of the miniature sharp (small depth of field), this value should be closer to 1. On the example, I used F/3.3. If you’d like more parts to be sharp (big depth of field), this number should be “bigger” (smaller in fact, but I won’t go into this). On the example, I used F/8. You can see the difference. The correct setting depends on the type of lens you use. If you’re not using a macro lens, then this value should be between 1/3 and 2/3 of the full range. For example my 50mm lens can be set between F/1.4 and F16, so if I’d shoot miniatures with it, I’d use it between F/5.6 and F/11. This is the range where it is the sharpest. Because of the difference of its construction, my macro lens’ apperature can be set to F/64. For you, a good base value is F/8.
Shutter speed: The third corner of the exposition triangle. You should change this to get a correct exposition that is not too bright and not too dark. Set this to 1/50 sec. If it is too light, turn it to a faster setting (1/200, 1/500), if too dark, then set it to be slower (1/10, 1″, 5″).
(White balance): It is advisable to set it to a fix value, but fortunately the automatic white balance setting of modern cameras are excellent. If you shoot RAW, then don’t worry about this, as you can change this in post processing.
Picture quality (Q): If you can, shoot RAW format. If you can’t then the best JPEG your camera can offer.
Érzékenység (ISO): Ez legyen a legalacsonyabb natív érték, nálam ez 100, még akkor is, ha van a gépnek “LO” állása (ISO 50). Ez már elektronikus beavatkozást jelent. Nézd meg a kamerád gépkönyvét vagy az internetet.
Blende (F érték): Ha azt szeretnéd, hogy a modell kis része legyen csak éles (kis mélységélesség), akkor ez a szám legyen minél közelebb 1-hez. A példa képen én F/3.3-at használtam. Ha mindent szeretnél élesen látni, akkor ez a szám legyen minél “nagyobb” (igazából kisebb, de nem megyek bele). A példán F/8-at használtam. Látszik a különbség. Objektívtől függ, hogy mennyire érdemes ezt állítani, de ha nem makró lencséről beszélünk, akkor a teljes tartomány 1/3 és 2/3 között érdemes tartani. Példának: az 50mm objektívem F/1.4 és F/16 között állítható. Ha miniket fotóznék vele, F/5.6 és F/11 között használnám. Itt a legélesebb. A felépítése miatt más tészta a makró objektívem, aminek F/64-ig lehet szűkíteni a blendéjét. Nálad legyen F/8.
Záridő (Shutter speed): Az expozíciós háromszög harmadik eleme. Ezt kell állítgatnod, hogy helyes expót kapjál, ami nem túl sötét és nem túl világos. A megvilágítástól függ ennek az értéke. Állítsd be 1/50 sec-re. Ha túl világos, akkor gyorsabb sebességre állítsd (1/200, 1/500), ha túl sötét, akkor lassabbra (1/10, 1″, 5″).
Fehéregyensúly (WB): Ezt érdemes egy fix értékre állítanod, de szerencsére a modern gépeknek nagyon jó az automata fehéregyensúly állásuk. Ha RAW formátumban rögzíted a képet, akkor ez teljesen érdektelen, mert utómunka alatt ezt később is meg tudod változtatni.
Képminőség (Q): Ha tudsz, mindenképpen RAW formátumban fotózz, ha nincs, akkor a legjobb JPEG-be, amit a géped tud.
Pressing the shutter button
Do not press the shutter release! if you click the button on your camera, it can wobble. There are three ways to handle this:
Remote: This is a piece of kit that you hook up to the camera and has a remote control. You press the button on the remote, the camera makes the picture. Timer: If you don’t have a remote, then set your camera’s timer to 2, 5, or even 10 seconds. This way your camera will have a few seconds to “wobble itself out”. Tethering: Most cameras can communicate with your computer via USB. You start a program and make the image with the button of the software. This way, you can be meters from the camera. The image will not only be saved to the memory card, but it will be sent to the program. It is a huge help if you can see the image on a big monitor right after exposition and not the small LCD on the back of the camera. This is my favourite way to shoot. I used Lightroom to shoot tethered.
Of course, if your tripod is weak, then it doesn’t matter how you expose, the camera will wobble and the picture will be blurry.
Ne te exponálj! Ha lenyomod a gombot a fényképezőgépen, bemozdulhat. Három megoldás van erre:
Távkioldó: Ez egy olyan felszerelés, amit rákötsz a gépedre és van egy távirányítója. Ha megnyomod a gombját, akkor exponál. Önkioldó: Ha nincs távkioldód, akkor állítsd be a gépedet 2, 5, vagy akár 10 másodpercre. Így amikor lenyomod az expó gombot, a gépnek van pár másodperce “kilengenie magát”. Tethering: A legtöbb fényképezőgép tud USB-n kommunikálni a számítógéppel. Elindítasz egy programot és a program gombjával “exponálsz”. Így akár több méterre is lehetsz a géptől. A kép pedig nem (csak) a memóriakártyára íródik, hanem a gépre is átkerül. Hatalmas segítség, hogy exponálás után egy bazi nagy monitoron látod a részletgazdag képet és nem a fényképezőgép apró hátsó LCD-jén kell ellenőrizni, mit is csináltál. Nekem ez a kedvencem, most is így dolgoztam, egyből Lightroomba fotóztam.
Persze ha gyenge állványod van, a gép zárja simán bemozdíthatja a képet, tök mindegy, hogyan oldod ki.
Small Depth of Field
Big Depth of Field
Using a warm color background
Meleg színű hátteret használva
I used the blue wrap of the A4 paper I used before to make a “sky” background.
Az előbb használt A4-es papír kék csomagolóját használtam “ég” háttérnek.
Blocking out the window light to the background, I can create a darker background.
Ha nem engedek annyi ablak fényt a háttérre, azzal lesötétítem.
I put my tablet under the miniature that gave me a reflective surface.
A tabletemet a mini alá tettem, így kaptam egy tükröződő felületet.
I’m sorry for the shitty paintwork, but I just recently started. All the images are raw, strait out of camera. You can get much better quality if you process them.
Have a great photoshoot!
Apró betűs rész
Elnézést a gyenge festésért, csak nemrég kezdtem. Az összes kép nyers, így jöttek ki a kamerából. Feldolgozva sokkal jobb minőséget kaphatunk.
Ladies and Gentlemen, this was an Epic night. Seeing Ozone Mama and The Weight live in concert was nothing less than Epic with a capital E!
Ozone Mama is one of the best Hungarian rock bands of all time. That is an objective statement, you can research the number of prizes they won. A subjective statement would be to substract two words from this sentence, and make it “Ozone Mama is the best Hungarian rock bands of all time”. Yes, they are human and Hungarian, so as a huge advocate of the exclusivity of anglo-saxon rock, I’d say that they are not perfect by any means, but they are so damn close! They are clearly highly above all that has been concieved in this country in the last few decades. In fact, Ozone Mama is the one of the two Hungarain bands I still choose to listen to.
They just released a new album, entitled Cosmos Calling (which is awsome by the way), and they needed a music photographer to shoot the show. As you know I already photographed them before (if not, then just read back on my blog). The new album even has one of my photos in it! How cool is that? Anyway, I was a bit anxious, as for a few years I tried to keep myself away from concerts and other crowded places. If the venue had a photographer’s pit, I had no problem working, but if I have to squeeze through hundreds of drunk people jumping, then jugling my cameras and lenses start to be a bigger challenge.
Whatever, it is Ozone Mama and a signature show, so I took the job. As a storyteller photographer, I wanted to see what lies behind the scenes, so I asked Kati the awsome manager and problem solving extraordinaire if I could join them backstage. She happily agreed. I wanted to shoot three assignments in one. The first one is obviously a photo story for the band that apart from concert photography, includes a pre and postshow images. The second is a ten image series that captures the essence of live music without people, the third is an absurd portrait series relating to emotions behind the scenes. It is really important for a photographer to shoot for oneself as well as the client.
The first series I took was then the band was setting up their gear. Then there were some great stories backstage with some TV interviews. The Weight came on stage, and I was astonished with the authentic rock they were playing. While I was out there rocking out, I fired a few shots with my cameras, naturally. They were the perfect opening act for Ozone Mama. I had to buy one of their vinyls at the merch counter after the show. Of course, I had it autographed. As I work in Austria a few times per year, I’ll keep a look out for these guys.
Further stories in the backstage with the guys getting ready and giving a second interview beefed up my private image store, and I was already okay with the number of shots by the time they went on stage. I found the concert energetic and honest. Sound quality was excellent, as it almost always is on A38, so we could hear every small nuance and detail in the new songs. The audience thanked the effort with a lot of movement and singing. This was quite unusual for a setlist that contains mainly of entirely new songs. Okay, the album was out for a few weeks, but not so long that this many people would know it. This and the fact the band can fill in the large hall of the A38 with their fans means that they are ready. Ready for an international career.
Back to photography: I felt great throughout the show, somehow almost all my compositions were great. I think I had to crop about 3-4 pictures out of a hundred. When I started this business, I cropped about 70-80% of my images. Light was adequate, I worked with ISO1600-2500, on very few occations did I need to bump it up to 3200. In huge stadiums I can usually get away with 400-800, but this place was much smaller. I took my Fujifilm X-T2 with the 56mm f1.2, 90mm f2, 35mm f2, but I apart from some wide shots, I used my Nikon gear that night. It is a Nikon D750, and I choose a Sigma ART 35mm F1.4 and a Nikon 85mm f1.8. I also had my trusty Nikon 70-200. G VRII with me. I hate the bulk and weight of the lens and the fact that it is a 2.8, but it enables me to get some really tight shots at 200mm. I really should change it to a 200mm f2 prime sometime.
Did you know that the album was mixed in the U.S.A. by Michael Rich of Karma Studio) and it has an American pulisher (Ripple Music)?
When the show was over, I was waiting for the guys in the backstage. After a small refreshment they did the obligatory meet and greet and signed a huge number of CDs, vinyls, t-shirts and fans.
After all the fans went home and there was basically nothing to shoot I started packing. When I went out to the parking lot where I left my car I found that about 2cm of snow has fallen, so I started sweeping off the vehicle while humming some Ozone Mama tunes.
I love to use the time for a number of different things while commuting. One of this is culling photos. I cannot do wonders on the train, but it’s not a big challenge to root out all the technically bad ones. So a day or two after the concert I went over the images and threw out a suprisingly small number of them. Later that day in my studio I imported an impressive number of files! As usual, I started with the concert photos. After selecting a few different ones, I started working out a preset that would fit the theme and vibe of the concert. Once I was done, I appied it to all the concert pictures. As I expose quite well (as every profession photographer should), I only had to fine tune the exposure of a few photos that really fell out of line. Then I did the same for the reportage part (backstage, interview, meet and greet, etc ..). When I was done, I just could not choose a few good ones, so the band received much, much more photos that I usually hand over.
I’m really grateful for this night for Ozone Mama and I’m really proud of the work I’ve done that night. Commissions like that really strengthen me in my decision to do what I really love: photograph.
I had a dark period in the winter of 2016. And of 2015. And 2017. And just about every winter, I’m quite depressed and need a photoshoot where I can express these emotions. This is where Polett came in.
We explored light and dark moods. Of course, it turned out that everything is gray in the end. Still there are excellent emotions in these portraits.
I just recently started using the Fujifilm X system, and I really loved how the camera and the lenses gave me that feeling that I was missing since the film days. My Nikon gear is like a race car, and sometimes I like to take it slow. The film simulation in these cameras are excellent as well.
The following image is my favourite and I’ve been winning photo contests with it ever since:
Almost all of the images I captured could work great in black and white, but still I had to retain color information. The use of a restricted palette is enough for me to convey my message and usually I don’t need to force my pictures to shades of gray.
All of the pictures were taken in a loft style studio with huge windows, so I didn’t have to worry about studio lighting. I cannot recommend this setup to any aspiring photographers enough who’d like to create intimate, personal portraits.
I visited Amsterdam in The Netherlands to shoot a maternity session. Unfortunately my plane was late and the weather was overcast, so I had to get creative to use all the light I could in a charming house on the bank of a Gracht in the historic part of the city. Fortunately the soon-to-be mom and dad were so happy and welcoming that the images turned out much better than I expected. I was already so happy with the knowledge that the baby would be born to such a loving family.
Do you know the Death Tunnel in Budapest? I took Barbara there for an episode of my 5 minute street fashion portrait series.
It was an experiment. I talked to my client for 5 minutes, took some pictures for 5 minutes, then talk 5 more. So the whole thing took 15 minutes. I wanted to learn how to take great portraits of completely unknown people in a relatively short time. I have a lot of these, but only some are special. Like this.
What makes this series special is that it was taken in the Death Tunnel, a pedastrian tunnel under the Nyugati Pályaudvar (western railway station) in Budapest, Hungary that lets you cross undern the railway lines. It probably got its name from the tunderous rumble the trains make when they roll over it. I wanted to catch the expression on Barbi’s face, I wanted to take the shots when the train rumbled. Of course only a few came, but the feeling is clearly visible on her face.