Over the weekend I headed down to CERN in Geneva to check out the Strobist seminar on February 21st, 2009. I went down on Friday to shoot Geneva graffiti and ended up doing coverage of a Tamil Tiger demonstration at the United Nations, but those stories wait for another day. I’m the sort of person who doesn’t like spending money on photography education, mainly because there’s nothing really complex or technical about taking pictures which seems to justify the cost of advertised offerings like the Luminous Landscape workshops. A camera is a lightbox, you add light with flashes or manipulate natural lighting, what’s there to learn? You take the vision in your head and make it a reality. But I do occasionally drop money here and there, a Joey L Photoshop DVD, a book on Skin, a book by Michael Grecco, and I figured it was time to join a lighting workshop.
The Strobist workshop was all day on Saturday. We started around 9am, and finished at 5pm with a few breaks in between. In the morning we listened to David explain lighting design and methodology, and in the afternoon we watched David setup and execute four different lighting setups.
The morning focused on lighting basics, the thought process for designing lighting in different environments. Lighting concept takes a few minutes to describe in every possible detail, but the morning was filled up on designing lighting for different environments, shooting outside in the shade, lighting an interior room by starting with the ambient light and then adding flash where needed. By the end of the morning I had a good handle on the method, which I hadn’t really used before. I finished the morning with one key process in my head:
When shooting a portrait outdoors, find a shaded location, under expose the ambient environment light, add light to paint the final picture using the strobes. Use the same basics for interior portraits.
That’s it, like I said, photography isn’t exactly complex, so there’s no reason to take away confusing tidbits on lighting ratios. If you write up a business plan and ask for $500,000 from an Investment Angel for your startup, they will want to hear your idea described in 2-3 sentences (Swiss StartUp Camp 2009). That’s it, keep it simple. I see no reason why lighting design should be any different.
Aside from having the basic process of lighting design, the afternoon exposed us to how to “execute.” Using the seminar room, we talked about four different locations to use for portraits. Then David set about the room with umbrellas and his Orbis ringflash, photographing participants. From a certain perspective, David Hobby is like the kid who got all the toys he wanted for Christmas, and spends every day rediscovering their amazingness. This was the impression I had watching him setup the different portraits. It seemed like each light setup was like finding a rocket in the backyard and getting to set it off. This is the corner stone, getting a sense for the energy and problem solving method of the man at work – the message which I took away from the afternoon. This aspect which is more difficult to communicate on a website like Strobist, and a good reason to attend a workshop. The technical aspects are of course – trivial. Flashes are not complex, neither is lighting design, it’s how one executes the shoot which matters.
When photographing, be a kid at play and you’ll have fun and take away cool photos. That’s it, nothing too complex.
Yeahhhh, Baby. That’s what we heard every five minutes, David’s way of pulling an emotional response from his subjects. It made me think of Platon asking Bill Clinton to “Show me the Love.” By channeling Austin Powers, David pulled a smile from everyone in the room, every time he said the same line again, and again and again, it got a positive reaction. Apparently he has other lines, but since “Yeahhhhh Baby” worked every time, there wasn’t any need to bring out the reserves.
Basically much of the technical information I took away from the Strobist seminar is covered on Lighting 101 and 102 on the Strobist website. Of course, pretty much all knowledge is available on the internet, you can teach yourself JAVA programming, electrical engineering, and quantum physics if you’re disciplined. The question I always ask in my head, “was this really worth it?” Yes, in the end I left CERN happy that I’d dropped 150 CHF on a Strobist lighting seminar, plus travel between Zurich and Geneva and a sound-proof hotel room on Friday night, just as I’m still happy I dropped some 200 odd dollars on the Joey L Photoshop DVD.
And that’s the key to having a successful StartUp, give people something which they feel they need, and which they find value in, and you’ll be successful.
If you’re in Switzerland an interested in Strobist stuff, check out Swiss-Strobist. There’s a post about the CERN workshop and info on the 1st Swiss-Strobist meetup for 2009.
I love graffiti because you never know what you’ll find. On the wall of Lowenbrau is a poster of Obama’s Hope, staring off into the future. On the opposite side on a wall a sticker reads, “911 was an inside job.” Across the river from the brewery I see the Star of David and a Swastika sprayed next to a sidewalk leading up to some houses. There’s an equal sign between them. Social commentary on the action of the Nazi and Israeli governments perhaps? Who knows, it’s open to interpretation, some might say intimidation. The next week there’s a story in 20 Minutes about anti-Semitic leaflets being stuffed in mailboxes, someone said it was like the 1930’s. Hope and hate a few minutes walk from one another. In between a 911 conspiracy. Who knew the streets of Zurich were so crazy and political. Is it everywhere – waiting to be seen with the right eyes at the right time? Then there’s the socialists, the hammer and cycle are often found on buildings, usually not too far from an anti WEF image. Thoughts in time, what’s the reason? The abstract works are the best, no specific message, just shapes and colors, your mind doesn’t need to translate the universal language, just enjoy the views.
Ah, but who is saying what, you wonder. Not everyone is talking to the walls with spray cans, you only hear the most determined voices. That’s fine, I’m not looking for SAMO’s ghost or Van Gogh’s ear lobe. There’s Andy Warhol in the Kunsthause and galleries around Zurich, but I love graffiti because the environment is always changing, and part of the art, the texture of the images changes with the lighting and the season. You never know if it”ll be there the next time you walk by. I think of fleeting moments in the time that can never be recreated or improved upon. Perfect.
Beware of cities which are too clean, without stickers on the lamp posts or writing on the walls. Beware of people who always clean off the walls with out hearing what they say. Not all graffiti is good, a lot of it sucks. I vomit every time I see nothing but tags. In Zurich most of the stuff around the train tracks is just kids writing their names in colorful ways, who cares. What I like is seeing a horse in scuba gear, alien faces below windows and giant lizards crawling up the sides of buildings. The coolest find by far was this piece of newspaper on the wall near Escher-Wyss-Platz. Basically it’s an astronaut painted on newspaper, with a map included. Pure imagination, priceless inspirations.
Organized on 
One of the many cool sponsors of the camp was Poken, a cool little device thats helps to aggregate all your social networks into one place. At first glance it reminded me of a Tamaguchi and the phrase “impending lawsuit by the makers of Pokemon?” was the first thing that popped into my mind when I saw the little device. Basically the Poken is used to exchange “Pokes” with people in real life, then you plug the device into a USB slot and head to the website, all the social network stuff is then right there for everyone you exchanges Pokes with. Pretty cool, fairly neat.
Despite the concentration of camera shops, Ginza is one of the worst places in Tokyo to buy cameras and photo equipment, unless you’re a collector. The stores there are basically vintage Leica vaults – filled with all manner of limited edition gold plated 35mm Leica paper weights one could want. Rollie twin-reflex cameras and the occasional and Western-rare Fuji 6×8 medium format rangefinder are also floating around, but Ginza is really just focused on filling the needs of Leica and Rollei collectors. For cameras you have to head to Shinjuku (Yodobashi and MapCamera). ?On the weekends the main drag in Ginza closes down to cars and you get to walk wherever you like. This is especially cool when the sun goes down and you can capture excellent views of the buildings from the street vantage point, a location generally difficult to have in any city of the world on any given day.
Like many parts of Tokyo, the architecture is new and snazzy and excellent for taking snaps, or even “photographs”. The weekends are also a nice time to do street photography, whatever the exact definition, if you enjoy taking photos of people on the street, a day trip to Ginza on the weekend will provide you with countless subjects. The Japanese population is generally well acclimated to having their picture taken, it’s a street photographer paradise.
As with many districts of Tokyo, if you’re street shooting, you’ll have a lot of company. I was walking down the main drag, and a photographer caught my attention. He seemed overly excited, almost like a giddy school boy at a candy convention – and then I saw the object of his obsession. A woman was chilling by the street light and this guy was having the time of his life shooting her, she didn’t seem to mind too much – as if she were used to the attention, and just stood their posing and smiling. Even when a second guy showed up and started clicking away she just kept the pose. I took the photojournalist angle and photographed the guy shooting the woman chilling by the street post – being photographed by another guy. Naturally, and in unique Japanese photography fashion, I was sporting a Ricoh GR Digital with the optional 21mm add-on lens. The skies were deep blue and set the stage for fantastic portraits of the city.
Most parts of Tokyo look awesome at night, but Ginza is special. The main street is extremely wide, and on the weekend when the cars are forbidden to drive there, you have fantastic views of the buildings. Grab a tripod and setup directly on the double yellow lines of the street, turn around in awe of the magical light spectacle around you, the view still haunts me to this day. Whatever you do in Ginza, don’t miss this sunset magic hour, the time when the sun is going down – and in that magic 20 minutes when the sky is blue, the city lights are up, and you have time to kill, this is the best time to do cityscapes and capture those sights you can only experience once during the short 24 hours squeezed into a normal day.
When one gets deep into photography the inevitable question becomes, what can I store my gear in to keep it organized, accessible, mobile, bombproof and cool when jet-setting across the globe? The default answer is a Pelican case. Although now a cliche – Pelican cases are still the gold standard in photo gear protection. I bought a Pelican 1510 for various reasons, but the primary being that I needed a mobile case to house my gear for locations and for taking whatever wherever I desire without worrying about stuff breaking in-transit. I’ve used my 1510 for over half a year now, on planes, in my apartment, anywhere I decided I needed it to be (mostly my apartment).
I like the security of Pelican cases and knowing that I never have to worry about the stuff I put inside them. The only time I ever opened a Pelican case to find the contents broken was when the TSA decided they needed to break open every fucking chocolate Easter bunny which I had packed in my 1450 (as checked luggage) as a present for my niece and nephew. Because, obviously if I wanted to smuggle drugs into the country I would do it in chocolate Easter bunnies which were still in the sealed packaging they came in from the store I bought them at in Switzerland. Which brings up another point, the 1450 is the perfect travel companion to the 1510. I can use my 1510 primarily for my lighting kit and then pack my Minolta 7D and assorted prime and zoom lenses into the 1450 (which is paired with a Pelican camera bag). The 1510 counts as the normal carry-on bag, the 1450 can counted as a camera bag. Since the 1510 is bomb-proof, it’s not light, and some people could run into the problem that it’s too heavy to take in the cabin. However, for myself it hasn’t been a problem.
Some time in 2005 I walked into the Oerlikon outlet store of Baechli Bergsport and picked up a pair a yellow and grey Lowa Evo ski touring boots. They were on sale and I thought, “ski touring, always wanted to do that.” In the winter of 2008 I bought a pair of NAXO N02 touring bindings, a pair of Atomic skis, Black Diamond skins, a BCA avalanche beacon, Black Diamond probe…ready to realize my ski touring dream.
At Pizol you have the option of heading on from the resort for another 600 vertical meters to the Pizol summit, but as I was alone, I decided to stay out of the backcountry. Avalanches sound like trains, and it’s ill-advised to stand in front of either one. I’ve had the pleasure of having an avalanche come down on me in Colorado, a pleasure as I ‘m still here to talk about it. It’s good to experience some things ONCE, and that once was once enough. At Pizol the weather was fantastic above 1500 meters. Down below in the valley was Das Nebelmeer, German for sea of clouds, that beautiful event where the clouds are pushed below the mountain peaks, and you look out from the sunshine. The light was perfect, beyond perfect, which is impossible, but it was.
Ski touring looks fly, but it’s surprising exhausting. I was vacationing in Detroit for Christmas and my Swiss mountain legs hadn’t been exercised in months. So when I skied down the slopes and tried to turn my legs revolted with deep screams of muscle fatigue. I’m a weak, flabby man, a poor example of a mountaineer, but there’s always next weekend. I made it back to the gondola without crashing and decided to head back for a relaxing Sunday night in Winterthur. “Why push it?” The best ski season in February and the best touring in March (so I hear) and I just want to be in touring shape for the days to come.? That’s the point of Lazy Swiss Sundays, to not kill yourself, but to enjoy life. Their are many firsts in this life. Many things to be remembered, and many things to look forward to. A lazy tour in a resort area doesn’t sound exciting when written down, but it was a start, a flickr of adventure for the soul. It was the start of the beginning.
Ease of Use
A key to creating good stitched panoramas is accurately centering the camera on your panoramic mount and figuring out things like the nodal point of the lens and other important details I don’t care about. I deal with technical details in my research work, I avoid them with my photography. In this respect the GigaPan rocks, because it has a marker for exactly where the lens should be in relation to the camera mount, so all you have to do is attach your camera with a screw and center it on the mount. I’m under the impression that given the small physical size of a compact camera lens, the exact location of the nodal point of the lens in relation to the rotating base isn’t as critical as with a DSLR. There’s a bubble level on the GigaPan which makes leveling the camera quick and painless, which is also important for creating images which are aligned well and makes the stitching process easier. My Ricoh GRD with the GT-1 40mm lens just barely fits on the GigaPan, but this is because the 40mm add-on lens is wider and physically larger than the GigaPan was designed for. For the automation process, a robotic arm depresses the shutter release on the camera to take a picture, and then moves to a new position and takes another image, and so on till the pano is finished. The camera has to be pre-focused (generally focused to infinity) and the exposure needs to be locked so the images can be accurately stitched together without exposure mismatches between images. In this regard the Ricoh GRD, GX100 and GX200 cameras are perfect, because all those operations are extremely easy to do on those camera models.
Design
Brass-Tacs