Even if nothing else comes of it, I am so glad we've been working like crazy this week to film an educational video about flash composites just so I could take this picture.
I've mentioned before that the Brenizer Method -- like any large panorama technique -- will compress noise away at a given print or display size, similarly to how a something shot at ASA 800 on large format will print with less grain than a 35mm shot.
And I wasn't kidding. The sun goes down FAST over the mountains in Chile, and so just a few minutes after sunset is was already incredibly dark, and even at f/1.4 I had to shoot this at ISO 51,200! One part D4 magic, five parts panorama compression.
(Of course you can learn more about this with nearly three hours worth of instructional video here: http://brenizermethod.vhx.tv/ )
One of the hidden benefits of using so many advanced panorama and compositing techniques to quickly do the otherwise impractical or impossible is that it takes you back to the film days where you can be pleasantly surprised by a photo much later. The result of this tilt-shift pano of Central Park’s urban/pastoral view is exactly what I had in my mind, but it was great to see it take shape.
I’m in Europe, where I’ve just got done teaching two London workshops and am currently taking two days in Paris. It was an absolute blast with fantastic attendees, and a fair share of beer and foosball (or “table football,” as it is called here.) But some of the things I stressed were pushing yourself into places you don’t usually go, and working with clients for creative results, so I thought “well, let’s actually practice what I’m preaching.”
As part of the trip, I was reunited with Claudia, a great model who moved off to Germany after getting married, but in the process she never had any wedding photos of her own! So we arranged a bridal session. The problem before me was this: I knew we could get gorgeous photos. She’s gorgeous. I could put her in decent window light and take a snap with my iPhone and it would be gorgeous. And if I’d been doing a couples’s shoot I knew I could find the uniqueness in their relationship. But her husband couldn’t make it from Germany, so how do you shoot a bridal model’s bridal photos without it looking like just another bridal modeling session she’s done? We’re celebrating the real thing here.
I reached back to an idea I’ve had for many years, and I realized this would be the perfect time to put it in practice. And, more importantly, it was fun. Belt Craft Studios was a perfect place for this, with all sorts of props that we re-appropriated, but also a bunch of stuff that we simply stole from our apartment. This was one of the tableaus we created. Thanks to Tatiana Breslow for assisting, and to Claudia for being an amazing bride, and really working her core strength for these.