Get Creative


Shannon’s Gelato Creative

Written by our new Aussie friend Stuart Leslie Blain

I don’t know other photographers’ process for putting together a creative. Mine’s done paradoxically. On the one hand I get an idea; workshop it, put it through the KISS filter, then off & away. However, at unsuspecting moments of the day a creeping fear drips into my consciousness that prompts me to ask myself – Am I reinventing the wheel or am I remaking the same old crap I’ve seen before?

If the concept doesn’t match the ideal, then how do I bridge the gap? And finally, will it hold up to the scrutiny of other working professionals? This is my working science experiment as an assistant slowly transitioning to photog.

The breath of fresh air comes in the form of shooting the breeze with Colleen, Jim, and Walter at B3K Digital. A genuine, unpretentious, uncompromising support system. Like a second family, but in photography. The likes of which this fish-out-of-water Aussie never experienced before. So imagine my lack of surprise that it’s the first port of call for Canadian image-creating heavyweights like Christopher Gentile (big fan, mentor) who introduced me to them.

My lens of choice was the Canon EF 100mm f/2.8L Macro read more at 101meds.com IS USM which is just a delight and I love the precision, even in low light. Detail and focus being paramount, I went the way of macro because I wanted to capture the beauty of (Shannon’s) my Italian-Canadian wife’s amazing juicy fruit and vodka gelato’s with mouth-watering clarity. Specifically so I could oscillate between some quick product shots (none of which i really liked ultimately) and these “lifestyle-y” shots. Some concept photographs to support a new business venture to eventually make these available for public consumption.

Categories are obviously practical, but beyond that I hate pigeonholing and labelling something ethereal like art because I find, like a film review, it colours your perspective. So I’ll refrain from labelling my shots for you the viewer/reader and allow you to just drink it on.

This was an invaluable process for me; learning to shoot a melting object in the sun, held by a melting, sweating subject. Always get model release forms signed – even when shooting friends (sad but true).

Run things past the folks at B3K Digital because they are über supportive and nurturing (and it’s easy to forget, and feel pretty alone in a culture that values profit, competition and self-interest and devalues creativity), but especially because you never know where your idea/concept will lead. Start throwing your creative seeds out there into the universe. Whose to say what will happen or how deep the rabbit hole goes.

My humble thanks and bear hugs to everyone at B3K Digital – particularly Colleen for her suggesting this – for their support of me and my photography.

Canon 5D MK II with EF 100mm Macro, ISO 100, 1/100 s, f/9, 100mm

Canon 5D MK II with EF 100mm Macro, ISO 100, 1/125 s, f/11

 

Musings of an “Old Man”

re-posted with permission, and written by Ken Galama

I keep thinking about a DSLR.

I keep getting confused with all the different sensors and pixels.

I miss the days before digital cameras.

Back then the debate that raged was about which medium format camera was best. (yes it was square and no it wasn’t Bronica)

When it came to 35mm it was Canon or Nikon (sorry Pentax and Minolta). There really was no significant difference. You either liked the feel of one or the other and that was it.

Film was the real variable to understand. It was organic, with its moods. It demanded to be treated like the proverbial Goldie Locks. Not too hot, not too cold.

The lab that processed the colour film was like a maternity ward with anxious photographers waiting the delivery of their precious images. Ripping open packages, flipping through prints, negatives being examined. Each image scrutinized, some cherished others aborted.

But every photographer had religion when it came to black and white. I never met a photographer that didn’t process and print their own black and white film.

Ansel Adams was the founder of that religion yet every photographer had their own private ceremony.

After the film was dry and an image chosen for printing the photographer conjured his image from a beam of light. Dodging and burning creating a unique hand made image.

That final print was a direct link to the photons that bounced of the subject. A continuum that was created by the photographer, frozen in time.

I’ve turned into the old man that sits on his porch reminiscing about those days back then, when film was a thing that mattered.

 

(Ken was classmate of Colleen’s from her Algonquin College Photography days, you can follow him – or his dog Buddy on Twitter @Chelsea_Buddy)

Hartblei – Larger Than Life

Medium Format Quality – View Camera Movement

By Cedric Swaneck – Freelance Photographer/POCP Assistant

A couple of months ago, I was at B3k Digital chatting with Colleen and local photographer Christopher Gentile about the merits of tilt/shift lenses. Right on queue Colleen presented us with the Hartblei trio of tilt/shift SuperRotator lenses. They offer the 40mm f/4, 80mm f/2.8 and 120mm f/4 lenses. The build quality of these lenses is impressive to say the least.

Equipped with cutting edge Carl Zeiss optics, the Hartblei line of lenses offers DSLR professionals true medium format quality glass. Not only is the quality of glass incredible, but the versatility and flexibility of the SuperRotator tilt/shift design offers the photographer more creative and technical options than ever. You have 360 degrees of rotation and independent control of the tilt and shift movements. The movement of these lenses is almost like that of a view camera. The barrel build quality is amazing. All of the elements flow smoothly and lock with military precision. It’s like having a high tech tank in your hands.

The 40mm f/4 lens comes equipped with a built-in tripod mount, which you will definitely need. The Hartblei 40 is a real big boy weighing in at 1,490 grams (1.49 kg/3.28 lbs)! I would definitely recommended using the Arca Swiss P0 tripod head with this lens. A great standard lens and a great workout.

The 80mm f/2.8 was the easiest of the three lenses to maneuver. Like the rest of the lineup, this lens was tack sharp and the image quality was excellent. The dimensionality of these tilt shifts can really make your subject really pop while creating a silky smooth bokeh.

I would have liked some more time with the 120mm f/4 lens to play with it’s macro capabilities. Maybe even try it out with an extension tube. The sample image below was taken straight on without tilt or shift. Super sharp and fairly easy to control lens. This lens is equipped with dual focus rings helping you get closer to your subject.

Sample Images

 

(Canon 5D Mk II - Hartblei 40mm f/11 2 sec. full shift and tilt)

(Canon 5D Mk II - Hartblei 40mm f/11 1/2 sec. full shift)

(Canon 5D Mk II - Hartblei 40mm f/11 2 sec. full shift)

(Canon 5D Mk II - Hartblei 80mm f/11 1/2 sec. full shift)

(Canon 5D Mk II - Hartblei 120mm f/11 1/2 sec.)

For an in-depth review and more sample images visit Lloyd Chambers’ blog.

http://diglloyd.com/articles/Hartblei-pub/Main.html

For more info on Hartblei and technical specs visit the Hartblei website.

http://www.hartblei.de/en/sr40if.htm

All images are copyright Cedric Swaneck. Special thanks to Eleni at Dwell Gym.

 

Phase One Certified Professional program – POCP

What it is, why it’s important and the state of the photographic industry

By Walter Borchenko – B3K Digital

The Phase One POCP program evolved out of the need to establish industry standards. This requires the support of Phase One distributors, dealers and rental houses globally.

Training like our Capture-U program or establishing your own system is fine, however, the basics must be covered and maintained. The POCP program delivers the basics and a whole lot more, exceptionally well. This is a strong reason to include the POCP program in any Capture One and or Medium format training strategy.

POCP Program

The program is designed for Digital Techs, Assistants and Photographers who manage their own equipment and workflow or find the additional knowledge valuable in a studio / team environment.

Training starts with an on-line component that averages 4 to 6 hours to complete. The training is broken up into a number of modules, each with a quiz that must be passed by 80%. The second stage involves a 2-day workshop. The 2nd day of the workshop concludes with a final exam. To receive the Phase One Certified Professional designation, the on-line scores and the final exam must have scores of 80% or better. If passing scores are not achieved for the final exam, a retest is arranged for a fee.

As part of the program, each attendee receives one of the most comprehensive Phase One trouble shooting guides available. These guides are not publicly distributed and are available only through taking the POCP program.

Program content is constantly being updated and expanded. Due to the changing nature of the material, certification is valid for 2 years and then a re-certification is required. Fees for re-certification are significantly reduced. As part of the certification, each successful candidate is listed on the Phase One International registry. Canadian graduates now number 30+ from our 2013 and 2014 programs in Montreal and Toronto. This year we are expecting to expand the program to Calgary and Vancouver.

POCP graduates can show the POCP logo on their websites, business cards and marketing. On average, approximately 2/3rds of the attendees graduate from the Phase One workshop.

If Capture One and DSLR’s or Phase One / Mamiya – Leaf digital backs are something you use regularly, there is a very high likelihood of graduating the POCP program.

Medium Format and POCP

Phase One and Mamiya-Leaf backs and systems are the most installed, most purchased and most widely rented globally in the medium format category. If this market situation were occasional, the need for POCP would be small. However, Phase One has been in this lead position for almost a decade.

The install base has grown to a very significant number partially through photographer loyalty and partially due to the incredible life span of these products. Photographers who invest in Phase One / Mamiya Leaf backs typically stay invested making medium format part of their daily workflow. Assistants and digital techs come and go fairly regularly. There is a limited amount of time to train and or learn workflow and equipment operation. POCP graduates have a solid knowledge base and are a great solution to this dilemma.

DSLR’s and POCP

The increase in image quality of DSLR RAW files handled thru Capture One is well established. Significant savings in post-production time and retouching offered by Capture One is a key cost savings and competitive advantage in today’s economy. Clients are no longer willing to pay for significant retouching as in the past. Additionally , tethered workflow for studio photographers increases productivity, quality of the creative process.

Due to the success of Capture One with busy photographers, the POCP program incorporates a significant segment on DLSR tethering, and workflow. If Capture One is new to your DSLR workflow or you would like to take advantage of some of the most effective workflow tools, consider hiring a POCP graduate on a consultative basis. The POCP program gives graduates the tools to work out an efficient workflow and highlight the key tools and functions that save time and produce a better job.

Working around the Globe – finding the right team

The demands of clients can lead to travel and having to produce high-level jobs in other cities or countries. The global nature of business means that travel is an essential part of many photo businesses. To define travel as complicated would be an understatement, especially for photographers. In many cases, renting just about everything is about the only way to simplify the process. Working with POCP graduates in whatever country you happen to be in, provides a high level of consistency. The POCP listing on the Phase One site is organized by world region and then by country making it easy to find someone in or near where you need to shoot.

State of the industry

The photographic industry has changed beyond all recognition. A single photographer produces as much or more work than 10 photographers did even 6 or 8 years ago. In many categories the price of photography has come down significantly putting pressure on studios to find new efficiencies. As the efficiencies of Capture One and the Phase One / Mamiya-Leaf backs is understood by more and more of the remaining market, Phase One solutions have become successful in all categories of photography. The POCP program jump starts staff to a high level of efficiency quickly. If a quick solution is required, a POCP graduate is the perfect consultant to get things going.

In the top photographic categories, costs and prices have gone up, especially when significant production and expertise is required. Phase One solutions have always been a favorite of the higher end of photography. These categories are where many of the POCP graduates come from.

The POCP program provides essential knowledge to take advantage of the 20% of Capture One, Phase One and Mamiya-Leaf backs and DSLR’s that accounts for 80% of the value. In many cases, there is so much riding on a photo shoot that even a small hiccup can be tough to handle. POCP graduates and the POCP program are your best bet to ensure smooth operation.

If you are interested in becoming POCP certified, please contact us. We require a minimum of 10 participants and a maximum of 15. Contact us at info@b3kdigital.com

Special Note: B3K Digital offers the POCP training opportunities as a photographic community service thru our distribution and sales agreements with Phase One and Mamiya-Leaf. The POCP program is developed, presented and administered by Phase One.