On the road: Hawaii, Kauai

Blogging from the road trip can be difficult, but finally discovered a little Wi-fi connection from my deck so here's a quick post from the beautiful island of Kauai (garden island). First time to this island and I'm it's my favorite at this point. Planning on returning on a non-work trip. During my first two days on the island and in between scouting my commercial locations, I snapped a few landscapes to go along with other hawaii landscapes from years past. Otherwise, I have barely had a chance to breathe with early mornings and late evenings doing commercial shoots. Luckily my bags arrived just in time to get started on the shoots (3 days late though!!!). I'll save those details for another post...

Lone tree on the road to Poipu on the South side of the island of Kauai, Hawaii:

Tunnels Beach on the North Shore of Kauai, Hawaii just after Sunset:

Hanalei Bay on the North Shore of Kauai, Hawaii:

Kilauea Lighthouse on North Shore of Kauai, Hawaii

Aviation pics that rock!

Just got back from a trip out to the midwest, more on that later. So, I'm catching up on a few of the photo blogs I frequent and came across some "in flight" pictures that are pretty amazing. I love flying and miss the cruising around the local air space in a single engine plane, so these get me excited. It also reminds me to put the local, Hill Air Force Base - air show on my calendar for 2010. We hit it a few years back and caught some fun stuff. One shot from the show of an F22 Raptor: http://www.kevinwinzeler.com/gallery/8453291_gHwjH#562117835_rCqKQ-X2-LB

And now for the big picture shots...

http://www.boston.com/bigpicture/2009/08/in_flight.html

We have a winner...Triathlon Shoot

Well actually I'm going to call it a tie. While all the contributers had some great insight to offer, SkiMoab and Justin came closest to the actual photo shoot scenario and thus are the winners of an 8x12, signed print of choice from http://kevinwinzeler.com

Here were their entries:

SkiMoab: In Utah Lake, in the morning. You're in the water with two different flashes attached to the boat. The shutter had to be fast to keep it crisp, but there's a slight delay to blur some of the droplets to show motion/speed.

Instructions were to look intense/mad and to hold his head a bit out of the water so you weren't getting just half of his face. Some post-processing to shade the edges.

Justin: Here is my very amateur analysis. Knowing you, you are probably down in the water a few metres from the swimmer. You have a couple of off camera flashes to provide the lighting. The swimmer was instructed to swim towards you and continue on a short distance beyond you so that as swimmer passed by you could capture him/her in fullstride.

(*email me with the print you would like)

SkiMoab and Justin both had the key elements correct -- 3 off-camera flashes Canon 580EX II's (although soon to be replaced with the amazing little Elinchrom Quadra AS battery pack system!) in a sandwich technique (front and behind swimmer). I'm in the water, just a few feet down the boat ramp (Utah Lake - Provo boat dock). I also have a waterproof casing (ewa marine housing) on the camera and wideangle lens Canon 16-35 f/2.8 at the widest 16mm length; all attached to the Canon 5D body (have since upgraded to the Canon 5D Mark II) and triggering remote flashes wirelessly via pocket wizard plus II's close to the Swimmer and instruction to the swimmer to swim just past my taking the pictures. There was also some post-processing work as you'll see in the before and after below to bring a bit more contrast and mood to the image. I didn't provide any instruction to how the Swimmer should look in terms of facial expressions other than to keep true to her normal swimming technique. Oh and the MAX shutter speed for a DSLR when using off-camera flashes is around 1/200th of a second. Unfortunately, that's typically too slow for freezing action completely, especially when you're mixing in ambient light, so a little bit of panning is necessary to keep everything sharp.

Check out the behind the scenes video for the lighting set-up, time of day, and interaction with the talent before and after the shoot.

WIN an 8x12, Signed Print -- Behind the Scenes Video

STOP!!!

Okay, BEFORE you watch the behind the scenes video, spend at least 3 minutes (180 seconds) studying this image and writing a comment below about how this photograph was made. I don't care what your background is or whether you're a photographer, artist, engineer, teacher, millionaire or of some other background; it doesn't matter, use your imagination here folks (ideas could be centered around: camera settings, lens length, instructions to athlete, lighting, time of day, location, elaborate set-up or not, photographers position, post-processing, studio work, compositing, CGI....etc.). Don't limit yourself and remember you're on your honor to look, study and write a comment before pressing play...! If your ideas come closest what took place on the shoot, an 8x12, signed print is coming your way!- Prints here: http://kevinwinzeler.com (*note- if you were on the shoot, hold the comments :)

The NEXT blog entry will delve into the specifics behind this photo shoot, from diagrams, to lighting ratios, to an analysis of what I liked and also what I would have done differently looking back on this shoot a year later. Stay tuned....

Creating photography for Design

The finish line is further down the road! I'll speak in broad terms here, but don't we as photographers end a bit too quickly when planning and shooting in terms of what the end uses of our photo will be? We take pictures that in our mind are complete, nicely wrapped, stand-alone items and call it good. So what's missing? Probably nothing for a fine art photographer, but for the commercial photographer, the process has just begun! I just finished an article that really resonated, not because I'm a designer, but rather because I'm a commercial photographer that works with designers, art directors and creative directors on a regular basis, I can hear their little voices in my head, screaming to us as photographers to the pay more attention to Design. Clean Lines. Provoke emotion. Visual cues that solidify the message. Texture. Details. More space for beautiful TYPE! I hear you. (if you're a designer reading this, we are listening. Comment with what is missing for you.

"Of course, smart photographers without a design background may well ask those questions too but it’s also likely that many photographers are more concerned about the technicalities of creating the image than producing a product that a designer will have to use. They want to create good photos. And even those photographers who do understand that a good commercial image isn’t just one that’s well-focused and finely-composed but also usable, might not consider whether there will be room for text or a headline if the image is run full bleed on a layout, or how the background elements may enhance or obstruct type and graphic elements laid over the photo...."

Read more here: http://blogs.photopreneur.com/photographers-and-designers

Image below: "Abandoned Lift" from the archives of Kevin Winzeler:

Golf Photography

I love golf! Pure and Simple. So combine stunning photographs with a super cool sport and I'm in.

Golf - Images by Darren Carroll

This is a funny and informative post for those of you ever following a live PGA event with your 10fps slr in hand ready to get the POV "Tiger" shot as he tees off on the 18th...think again...\

SHOOTING ON THE BACKSWING: NEVER, EVER--WELL, MAYBE SOMETIMES...OKAY, EVERY ONCE IN A WHILE...MAYBE YOU CAN GET AWAY WITH IT IF...

I've decided, after years of preaching until I'm blue in the face, that trying to teach photographers who don't regularly cover golf about shooting golfers on their backswing is akin to trying to teach teenagers about sex: we can preach abstinence all we want, but at some point we have to be realistic: it's not going to stop anything. They're still going to do it. So knowing that, we might as well adopt the attitude that while we're not encouraging it, it's best to teach them to be practical (and safe) about it.

Shooting a golfer at the top of his or her backswing is the single most distracting thing that we as photographers can possibly do. Put aside any arguments or criticisms of how a golfer can possibly be distracted by that when a baseball player can hit a fast ball, or a basketball player can shoot a free throw, in front of thousands of screaming fans, as such arguments miss the simplest of points: Golf is a game that demands concentration and mental focus, and the expectation that the player has is for silence. A sudden, unexpected intrusion on that expectation--like, say, the sudden ear-splitting crack of a 10 fps motor drive firing away--is most unwelcome. For us photographers, it's also against the rules. So shut up and stop complaining.

Now, the more argumentative in the audience will point out that images abound of golfers at the top of their backswing. And they're right. But what they often neglect to mention (or, perhaps, realize) is that those images were shot by photographers who possessed a combination of three things: 1) Knowledge of the game and the player they were photographing; 2) Judgment (based on lots of experience) of the surrounding environment and its ability to minimize noise and distraction, and 3) the right equipment.

With that in mind, here's the skinny on shooting on the backswing. Don't do it if you have a testy player who can hear a bee fart. (Colin Montgomerie and Cristie Kerr come to mind.) Don't do it if you have to get close to a cranky caddie who possesses an overwhelming desire to protect their player. Steve Williams (Tiger Woods) and Fluff Cowan (Jim Furyk) fall into that category.

If you're within a hundred feet of a player, don't do it unless you have a Canon G9 or G10, and you've turned off all the beeps, clicks, and whistles (not to mention the flash).

If you're more than a hundred feet away, but still close enough that the player fills the horizontal frame from head to toe with a 400, don't do it unless the wind is blowing towards you.

If you can, activate the "silent" shutter mode. If you shoot Canon, you can. Do it.

If you can't, then also check to see if there's a source of strong ambient noise around to help mask the noise of your shutter: A power generator from a TV tower, a low-flying blimp overhead, a four-lane highway on the other side of the fence lining the fairway.

But above all, if you have even the slightest doubt in your mind; if you think there's even the most infinitesimal chance that you will distract the player, then DON'T DO IT. Period.

This photo of Michelle Wie was made on the 15th tee at Mission Hills Country Club,with a 400 mm lens from a distance of about 100 feet--with Bob Hope Drive (and six lanes of traffic) in Rancho Mirage, CA hard on the left side of the tee box. Tiger Woods

Courtesy of http://blog.photoshelter.com

The tour de france: the photographers perspective

The tour is over...sigh

So for those needing a little post-tour pick me up, I found this little article pretty interesting for photographers, cyclists, tour de france junkies. Check it out here: http://www.whatsthejackanory.com/2009/07/le-tour-de-humphreys/

This guys on a mission to capture epic moments from different tours and has some pretty awesome photographs to view

If you're into cycling without all the photo mumbo-jumbo, you'll probably enjoy 40 sweet images from the 2009 tour de france that give both a journalistic and artistic perspective, courtesy of "the big picture": http://www.boston.com/bigpicture/2009/07/2009_tour_de_france.html

It would have been pretty amazing to follow up my '06 tour adventures, george hincapie's shots (below) with a little addition from Lance Armstrong and team. There's always next year! Paris in 2010 anyone? Will it be Team Radio Shack or Livestrong/Nike?

Shot details below:

Rider: George Hincapie

2006 Tour De France

Stage: Prologue

Placed: 2nd

Gear:

Canon 20D

Canon 135mm f/22 shot @ f/2.5

ISO: 200

1/3200 Second

Lighting:

Natural Light Backlit by the morning sun. Exposing for face.

Hiring a consultant

Photoshelter is featuring "working with a photographer consultant" and I'd highly recommend a quick read for both photographers and non-photogs alike. A quick excerpt to get started...

"Working with a consultant has changed the way I approach my work, the perspective of how others see me and how I see myself. Others may think it extravagant, but to me it is necessary. It's more than a masters, it's going for your Ph.D in photography and business with a private tutor: learning the nuance of portfolio development, marketing, follow up, and most importantly, a lesson taken right out of advertising agencies, creating a strong brand and image. Without it I'm just another photographer on the bottom shelf of the supermarket aisle hoping someone will notice me."

This extremely insightful and well written piece on hiring a consultant was exactly what I needed today. Among others, one huge take-away for me, was to find the core of why I do what I do and start photographing it, even at the expense of throwing an entire portfolio or website away. D.A. Wagner, who's work, while quite different than mine, is extremely inspiring and even more so was his resolve after a few decades of professional photography to reinvent himself. The application of reinventing ourselves spans the world of photography of course and applies to people in any career or station in life. Are you doing what you are passionate about, what your purpose is, what you dream about at night and during the day? If so, good for you. If not, why not? Gather your so-called consultants around (people that know and understand who you are: parents, friends, siblings, co-workers, spouse) and ask for direction and advice about your skillset, values and passions in life and most importantly, as D.A. notes, hold you accountable to sticking to your plan, once you've taken the plunge.

Things to consider before hiring a consultant:

• Can you emotionally and financially commit to paying an expert to criticize your work? This is the biggest consideration, as there are no refunds...
• Conversely, can you afford to continue doing what you've always done, especially if that means struggling to make a living?
• Are you ready to accept a dialog of criticism and be challenged with every new contribution you make to your new vision (every photographer's project of building a portfolio and marketing it will be different)?
• Can you let go of old habits and behaviors in order to get to your vision?
• Will you be able to go outside your comfort zone and address the issues that have kept you from doing this on your own? There are no good excuses when it comes to getting the work you need to do, done.
• Are you willing to be successful in spite of all odds? It is possible, but you must be willing to listen, follow instructions and complete assignments and be consistant. Remember, be careful what you wish for.
• Finally, if a consultant is out of your financial reach, and you are ready to commit to your own success, look into becoming a member the APA and signing on with Success Teams™, which has the following mission statement, "... to help each member of the team identify and clarify his or her own professional goals for success and accomplish them through encouragement, feedback, support and mutual accountability."

HD Video Teaser: Apx ALARM, Architecture and Construction Photography

I've been creating more video lately in addition to the sports photography and commercial photography projects. The latest project is for a company called APX Alarm and is sort of a documentary of a new commercial office space they are building in Provo, Utah. A top interior architect has been on the project (Pollack Architecture based in San Francisco, California) and to say the least these guys do phenomenal work. I've been shooting with the 5D Mark II, which has been a blast. The final clip will be done toward the completion of the building (coming Oct. 2009). For now, here's a simple 2 shot 30 second teaser walking through the main floor of the building. These two shots were literally done in 10 minutes, and about the same for editing, so this is quick and dirty. No steadicam or other fancy equipment. The opening shot is really what's get me the most excited and several similar shots will appear in the final piece. Oh and check out all the still photography from the construction of the building at the Kevin Winzeler - APX Architecture photography . If you have a large monitor (24" plus) open a browser and click on the full 1080p HD video clip . I love having another creative outlet in shooting video!!

Also, here's a quick 1080p HD clip slowed down 800% with a little boy dancing in the water and playing with the garden hose

Behind the scenes Sports Photography Shoot | Olympic Speed Skater: Katherine Reutter

I'd highly recommend becoming familiar with one of the coolest and most underrated Olympic sports,
short track speed skating prior to the Olympics in just 7 months. While you're at it, check out
Katherine Reutter and her story during the upcoming 2010 Vancouver Olympic Games
(Winter). She is young, energetic, already a champion and super fun to work with.
Prior to our shoot she had put in a seriously long and painful workout and still came strong
with lot's of energy for the photos. Go Katherine!! We'll be pulling for you. Also a little shout out
to friends Jason and Ty Fredericks (w/ odd animation, Justin Thorstrom, Stephanie Winzeler and
Nate Biddle for producing, assisting and helping direct the shoot. And a special thanks to Jason
Thompson for filming and editing this short clip! (Check out J's grass routes food show for some
tasty eats here)

--

This article just popped up in the News-Gazette.com featuring a nice little Q&A about Katherine's

journey to the olympics along with one of the portraits from our shoot.

hi! my name is Katherine Reutter

and over the next several months I’ll

be telling you about my experiences as

an Olympic hopeful preparing for my

first Olympic Games.

i’ve been a competitive short-track

speedskater since 2005, but this year

is my first real shot at showing the

world what I’ve got on an Olympic

level. This year is very special to me

because my goal in skating is not to

go to the Olympics — or even to bring

home a medal — but to be the great-

est short tracker this world has ever

seen. The 2010 Games in Vancouver,

British Columbia, will be a monumen-

tal step toward achieving my goal.

preparation for these games

started many, many years ago. I first

moved to a training center in 2005,

when I was 16. I was the youngest and

a rookie among a group of veteran,

world-class athletes. I started training

at the same level they were at, going

from less than 10 hours per week to

about eight hours a day. With the extra

workload and my determination to

finish everything, the inevitable hap-

pened. After six months I was over-

trained and burned out with just a few

weeks to go before the 2006 Olympic

Trials.

at olympic Trials, the first day is a

nine-lap time trial. The top 16 times

advance to compete for a spot on the

team. I was 17th by mere tenths of a

second. This was the beginning of my

journey toward learning everything

I could about this sport and how to

excel at it.

since then, every day has been an

opportunity to learn more. I’ve made

quite a few mistakes along the way,

but with the 2010 Olympic Trials 21/2

months away I feel like now it’s just

fine-tuning before I’m ready to show

the world what I’ve got.

summer training is like four-

months-of-hell week. Since the

beginning of May we’ve been doing

high-volume and intensity training (six

to eight hours a day) to build a base

to last us the whole season. Once the

competition season starts, the team

travels abroad for two weeks every

other month. Between tapering for rac-

es and recovering from flights and time

changes, there is very little time to

build strength in season so the name

of the game is maintenance.

The olympic Trials are in septem-

ber, which is four months earlier than

the U.S. Championships in a normal

year. This means all of our volume and

strength training is crammed into the

first two months of training so that we

can peak in September.

Training began in mid-april, and

our base training cycle is coming to

an end this week. Part of me is grate-

ful for the two months less of exhaus-

tion, but the other part of me wants to

keep going.

performance for the whole sea-

son is based on how strong you get

in the summer. I’ve been fortunate

enough that I’ve already reached the

point in my training where I peaked at

last year, but that makes me wonder

how much stronger I could be if I had

just a few more months to prepare.

Either way, I’ve done everything I can

to make training optimal every day

this summer so I can start my season

knowing there’s nothing more I had to

give.

as we enter into our preparation

cycle for olympic Trials and the

olympic season, I’ll keep you updated

on training, health and life in general

in the world of Olympic living. Kath-

erinereutter.com will also be up and

running soon if you’d like to check out

more frequent updates online.

Photography Lighting: Exploring "why" we take pictures | Skull Candy - Commercial Photography

What do you feel when you look at this photograph? Please comment with the first emotion that comes to your mind.


I just finished replying to a few emails including one from a fellow photographer interested in understanding my lighting techniques on a few photographs from my advertising photography portfolio. I get these kinds of questions on occasions from both beginner photographers to commercial photographers alike and am pretty much an open book when it comes to telling as much about the shoot, lighting, etc. as I can (usually becomes a question of what can I remember more than anything). However, it struck me lately, that a lot of photographers (myself included) are so wrapped up in how something is lit (see strobist.com - which I love btw), that the very essence and emotion within a photograph is left to chance. Essentially, the "why" of a photograph is in the backseat patiently waiting for whatever comes from using "killer light". Imagine if we were making a feature film together and the only thing the director and crew cared about was securing the most exciting and exotic location for the film, but the screen play hadn't even been written yet. The film would be hard pressed to do well based soley on a great location without an equally impressive screenplay, plot, character development, etc.. Often we feel like we are hitting the bulls eye if a photo is lit really well including lots of drama and edginess, but we failed to look at which target we were aimed at for before pressing the trigger.

So my question for you: Why will you take that picture today?

Cannondale SuperSix Product + Still Life Photography // Commercial Photographer

As I venture inside to work on a few more studio projects lately, which I am quite enjoying, the challenge becomes creating something fresh and innovative when the backgrounds are typically a more static element of the overall image (black, white, grey). I'm definitely not one to bring in a bright assortment of back-drops to spice up an indoor scene, when I would much prefer to get out to an already 'spicy' location, preferably an unexplored one, and create something authentic. Studio product and still photography for me becomes an opportunity to push lighting techniques and nuances to a new level as well as refine what I already know. The new Cannondale Super Six road bike gave me a excellent opportunity to shoot a gorgeous product, in unexplored ways and not to mention a product that is just as much fun to use (ride) as it is to look at.

(I decided against breaking out the ever popular smoke machine on this shoot, as compared to the Orbea Bicycle product shoot we did last fall, but had just as much fun.)

We started off shooting some typical product shots like you'd find in a dealer catalog and then moved to more dramatic lighting scenarios to emphasize key features of the bike, including the lightest and stiffest cranks on the market, the Hollowgram SL BB30.

Cannondale is doing some pretty amazing things, including the introduction of one of these Hi-mode Super Six frames fully built up and rideable weighing in at 10.1 pounds! Are you kidding me. That's a only a pound more than my the weight of my first child at birth (throw a diaper on him and we'll call it even). Check out a little video with Cannondale Marketing director, Scott Struve, discussing the 10.1 pound Cannondale SuperSix at the Tour of California with Team Liquigas. Here are the specs and price of the bike in Decline Magazine in case you're ambitious and unaware of the ever increasing amount of starvation in the world; priced to sale at $15,000...yikes

For now, I'll happily settle for a 16 pound version for $2,800.

And now for a few photographs....

Mountain Bike Photography in Salt Lake City, UT: Dirt Rag Publication

The long-time mountain bike publication, Dirt Rag Magazine is currently on the shelves and fearturing a full spread image from a ride up on the Salt Lake City benches, called Bobsled. The image was shot just with rider Steve Lloyd using a 90mm tilt/shift on a full-frame camera (more tilt-shift photography. The Mountains are again ready and primed for some excellent mountain biking, so get out there and ride!

(note #1 - photos of the magazine and article via the new iPhone 3G S. As a photographer, I'm still not that impressed with the phones still photo capabilities of the iphone, but it's sure convenient and slowly improving. That said, the new video feature is absolutely awesome and opens up a new world of possibilities for sharing cool content. Look for some short films on the 3G S soon)

(note #2 - this is my first blog post exported and written within the Adobe Lightroom 2 software (LR2/Blog). I was stoked to come across a plugin that allowed me to export images and write a new blog post all within the same window. I'm experimenting currently, hence the tiny images, and once I'm sold, will donate to the project giving me access to exporting full size images)

Corporate Photography: Cascade Collision Shoot

Recently, I was hired by Cascade Collision, to create an "employee portrait" to accompany a magazine article. It's exciting when a company is willing to take a risk and do an employee portrait that is out of the ordinary, which was the case with Cascade. But before the background story, I've got to put in a plug for this extraordinary company which, unfortunately (*car wrecks suck) I have had the opportunity to work with on two occasions. They're service and quality top notch and I was impressed and returned to them long before they hired me as a commercial photographer and I will continue to use and recommend their company (...praying I don't need their services any time soon...)

On to the photography; the magazine article is titled "Angels among us" and will pay tribute to several employees that have gone outside of the daily job they do to help people in their respective communities deal with hardship and in this case, repairing and restoring a car for free for someone in dire need. We tossed around several ideas for the image like putting the employees on the roof of their building and shooting a more literal interpretation of the title, but in the end thought a dramatic portrait of the employees within their work environment, lit in a way that emphasized each employee throughout the scene, would provide a great image for the story.

We spent a solid couple of hours getting the set-up just right, including moving multiple vehicles around in the shop, creating "welding sparks" with a grinder, hosing the entire shop floor down (multiple times) and re-purposing several additional props to set the stage. Next, we lit each person with a strobe and grid and my assistant traveled the shop floor with one additional strobe to light other areas of interest within the scene (i.e. Logo on Honda in the back, etc.) to later composite into the final image.

The employees were a pleasure to work with and we were quite pleased with the final image. Great work Cascade and continue to inspire us with your service in the community!

Portait:

On the job:


more of what they do...

LowePro's Packs & Service Rock!

The UPS guy has been showing up a lot lately, but today was a bit of a surprise, and a very pleasant one at that. This post is dedicated to a great company, making exceptional products and standing behind those products, for life! Roughly two weeks ago, before an advertising photography shoot, I was reviewing my gear for the shoot:

-5D Mark II & back-up body...check
-Fisheye lens...check
-16-35mm, 24-105mm, 70-200mm...check
-35mm f1.4...check
-135mm f2....check
-filters, strobes, batteries, gels, pocket wizards, tripod....check
(Lot's of heavy stuff, you get the point)

After packing it into my trusty, LowePro Computrekker Plus AW backpack I had the proverbial "zipper moment", yep, the main zipper sorta derailed itself from the track and left me in a bit of a bind. I quickly recalled a little sleepover episode back in the 2nd grade, on my buddies trampoline, when my then trusty "Papa Smurf" sleeping bag suffered a similar problem, leaving my little body exposed to the 6am sprinkler system. It was a terrifying recollection! (note: the LowePro zippers are inherintly much stronger than my $9.99 smurf special).
Now what, I thought? The bag limped through the shoot and afterward remembering the LowePro lifetime warranty and the fact these packs are not cheap to buy, I hopped on their website for a customer service link. Email sent, fingers crossed for a reply! 10 minutes later, a Mr. Maury Cohen (product specialist), gave me a few instructions to get the pack either A) repaired or B) replaced. Option B is always the dream of course, but I'd be happy to get my pack back to working order nonetheless. So, I boxed it up, shipped it back to Lowepro about a week ago with the expectation that it would be most likely repaired and returned (and please do it in less than a month's time). Suffice it to say, I was ecstatic when I opened the box today, to see a brand new pack, fresh from the factory, ready to go. Good job LowePro. You've earned a customer for life!

One small request, LowePro - I love your packs for their packing functionality, but please, please build in a worthwhile suspension system (See Osprey packs) for people carrying their stuff any distance over a 1/4 of a mile :-)

50 FACES PROJECT: Kevin Winzeler Photography

KEVIN WINZELER PHOTOGRAPHY // 50 FACES PROJECT // 50 EXPRESSIONS from Kevin Winzeler on Vimeo.

50 FACES PROJECT is in the works...You won't want to miss this!

What: Be one of 50 people included in a series of photographs all about EXPRESSIONS. We need people from all walks of life, including: different genders, ethnicity, age, dress, and most importantly expressions.

Who: You and anyone you know that fits the description above.

When: Tuesday and Wednesday (June 9th & 10th -- 4:00pm - 11:00pm both days)
15 minutes per person (whenever fits your schedule)

What you get: Beside fame, a free portrait.

Final thought: Come as you are; from work, the gym with or without make-up, it doesn’t matter. This is about everyday people. If you have an iPod, bring it loaded with songs that make you Laugh, Cry, Sing, Fall asleep, etc.


RSVP with a day and time you will be here: info@kevinwinzeler.com
Location: My house -- Right next to Cabellas off of the Alpine/Highland exit:
2702 West Shadyhollow Loop
Lehi, UT 84043

Call with questions: 801.319.8023 (Kevin)

Wakeboard and Water Ski Photography: Are you Ready!?

Summer is officially here! I have to say, that I am thoroughly enjoying some early morning exercise (running and road biking as of late) in this beautiful weather. My commercial photography shoots are also much more enjoyable without having to throw on a pair of winter gloves for extended periods of time. Of course "Summer" means a lot of things to a lot of people, but hopefully included on your list (in addition to exercise and photos) is a trip to your local lake, resevoir, or even your backyard canal. So grab that surf board, wakeboard, water ski, tube, or anything that could be pulled behind a boat and get out of the house! now! Okay, so maybe call your friend, who knows someone with a boat (perferably one who will invite you along) and get out there. We've got our annual Lake Powell trip just a couple months away, and I'm stoked to get down to one of the most beautiful places on earth. Speaking of Powell, I've got to mention a site I've partnered with as of late that provides some killer info on boating in the Utah are: Check it out Utah Boating Info You'll find a wealth of boating info on their site and some nice water and underwater photography :).

A post on my blog is not complete without at least one image, so here is one of my favorite Water Ski photos from last Summer; Branond Harding on a D3 Ski, "gearing up during sunset":