Clubbing ; NYC

Li Jing and Danielle Staud at The Roof Top; NYC

Bai Ling at the Chelsea Room, NYC

Random compositions

Rushing to an assignment I saw this little set-up. There is so much around us that we become oblivious to simple and random compositions.

The Chelsea Room

Rock and Roll in NYC

Last night was a long night. I shot ZO2 (top picture) and Diablo Royale when I saw this woman on her cell. I recomposed and quickly adjusted my exposure for the almost non existent light source coming from her cell, and shot. It was no surprise that I would get a good picture since I am working with top of the line equipment and my new 70 to 200 MK2 is proving to be worth it's weight in gold. In the words of my colleague, the lens is too sharp. Also, the chromatic elements of this lens are superior to those of the previous version. The colors seem to be more defined as is the exposure : tonality is improved as well.

The entire concert proved to be somewhat of a challenge. The lighting was often muddy and not well defined, something that the lighting person needs to work on. There was also a considerable exposure variation on all parts of the stage. Consequently, I had to constantly change my exposure, often by one to one and a half stops. Sometimes more.

Just having fun.

Merchant of Venice Shoot

Marsha Stephane Blake and Jesse L. Martin

Kodachrome; the end of a fantastic journey

I was able to finally locate the last images that Steve McCurry shot with Kodachrome which he had processed at Dwayne's Photo in Parsons Kansas, the last Kodachrome processing lab in the world. After 75 years of production Kodak ceased production of the popular and highly regarded by pros and archivists KR series film. National Geographic required all photogs to shoot with it. This was a great film for its color, tones, push characteristics and chemical composition which made difficult assignments possible. However, as all tansparency film you really had to know what you were doing. What you shot is what you got, no photoshop was possible. Consequently, there were fewer pro photogs and no "picture takers" that now bang out snapshots saying , oh I'll fix it in photoshop.

Photo credits courtesy of: Steve McCurry; Magnum Photos; New York Times

Images listed out of order. A frame 34; B frame 36; C frame 35

New York; old world elegance, today

A day of translucent sunshine

David Strathairn and Allison Moorer

The outcome of this shoot was equally rewarding as was the shoot in the previous post, except that I used my older version 70-200 2.8 IS lens. It was a very good day. It was very sharp. In human terms it had a very good hair day.

Kevin Spacey

I am thrilled that I finally was able to photograph Kevin Spacey. Not only because he is a great actor, but, I don't why I was surprised, but because of the range of his emotive expressions. This was a really a great shoot and he made my job very easy. This shoot was also easier because I used my new 70-200 2.8 IS MKII lens for the first time. What an awesome lens this is. Unlike my first generation 70-200 IS 2.8, every image was tack sharp; even the chromatic element of the image seems a bit improved. Further tests will show just by how much.

New York, New York

Lovely New York. I was able to get two virtually identical shots. What's wrong with redundancy and a soft feel?