Feb 22, 2010

Commercial Photography Checklist: On-location

I love flying airplanes.  In fact, long before I picked up a camera for the first time and well before my commercial photography days, I was intent on becoming a pilot.  Within six months after starting flight school I received my private pilots license and had a whopping 40 hours of flight experience under my belt. I was stoked!  6 short months later I was close to my instrument rating and half way through my commercial rating and was pushing 100 hours of flight time.  At every step in my short aviation career, this notion of using a "checklist" was pounded into my head.  After deciding I'd rather do barrel rolls than bus people around from point A to B, I left my pursuit of becoming a commercial pilot.  That was years ago, but to this day I can still recite from memory several of the checklists that were engrained in my head.  Checklists are a way of life in aviation.  Pre-flight, prior to take-off, emergencies, crossing different airspace, communicating, landing...the list goes on and on.  There's a checklist for EVERYthing you do in aviation and a pilot will have a short life if he ignores his checklists.  You are taught to never rely solely on your memory, but to reference your checklist, item by item, every time!

















Have you ever forgotten an important item on a photo shoot (lens, CF cards, lights)?  I have and it's a sickening feeling (take my word for it if you haven't).  Granted we as Photographers don't get into life and death "situations" per se, but we do have a lot of stuff to remember and if you're like me your memory can only handle so much.  So pilots use checklists. Why not photographers?  (maybe you already do)  --  This past week I had a location based shoot and was scrambling around checking the 20 different places I keep my equipment (ughh).  I needed a checklist, just like in my flying days.  So I opened up a spreadsheet, listed my all my equipment in an order that makes sense to me, printed it and voila, was right back in the Pilots seat.  Here's what I came up with:  commercial photography checklist. If it's a helpful starting point for you, drop a comment below or email us and I'll make it available as a downloadable spreadsheet file (created in Apple Numbers) so you can customize it to your gear and working style.  I'll likely follow this up with a production checklist for self-produced shoots.

I've organized the checklist into categories and subcategories.  The lighting section for example, is organized around different lighting kits I use depending on the size and location of my shoot (Small, Medium and Large Kits).  The last thing I do before leaving on a shoot is confirm everything required for the shoot is in my vehicle ready to go.  Don't start checking stuff off before it's physically in the car. (I wouldn't start my landing checklist 50 miles out from the airport) You'll forget something!

I'd love to hear how you organize and keep track of what is needed when you go on a shoot.  Drop a comment with any thoughts or ways to improve this checklist.

-Kevin Winzeler
--
Utah professional photographer
Photography | Motion | Stock

Feb 15, 2010

Failure & Fear: Photography - Keep Moving




I've spoken about failure as a "good thing" in a prior photography related blog post and so when I across this Harvard commencement address by J.K. Rowling (aka Harry Potter for those living in a closet) recently, I was again quite inspired once again. There is something profound in the notion of coming to grips with our fears and failures in photography (and life) and moving forward despite all of it. It's not that I believe people really seek failure, maybe some do, but those that have failed miserably and persisted to greatness are particularly inspiring.  The idea is beautifully expressed through her address.  

Fear often paralyzes us before we even get to the starting gate.  I know when I NEED to do something by the nerve racking feeling inside that causes a semi-paralysis of thought turning into over-exaggerated fear of all the reasons I might fail, if I do this "thing".   I guarantee [and I rarely use that word] we all experience fear of failure about something in life, whether it be a job, relationship, public speaking or simply photographing something new.  I sure felt this way leaving a corporate position in a Fortune 500 company to become a professional photographer, all while considering my family responsibilities, mortgage, and future "retirement".  Failures have come along the way and will surely come in the future, but those failures shape me as a person and an artist.

If we get past the initial paralysis that fear brings and do that "thing" we feared, often we still find the result is failure, despite our best efforts.  I often call myself an "experimenter", but in reality it would surely be failing.   With no formal photography education, I work really, really hard to understand all aspects of photography and motion from both a technical and an artistic perspective and then I experiment like mad.  Just ask my wife!  This past weekend for example, I was preparing for an upcoming commercial photography shoot so I took over the largest room in our house, kicked the kids out, moved the furniture and set-up shop.  After three hours of experimenting (failing), I had a a few shots and concepts that I would consider successful, but not many.  It seems that most of my successes in photography however, come after a lot of failure and the principle is to keep moving, moving, moving.  JK Rowling kept moving both toward her true passion as well as forward in life after what she calls complete failure.  It is easy to hang up the camera after having felt the fear, acted and then failed.  "At least I tried", we might say to ourselves as we move to something that is less risky and ironically, less of a passion.  We just aren't "visionary", "artistic", or "technical" enough to be great at photography.  Wrong!  In reality, most of us feel this way.  We keep moving forward driven by the passion, even when we feel overwhelmed by failure.  Success comes because we keep moving!  Be courageous to find your vision!


I intended to simply post the video this morning, but hopefully my ramblings have been somewhat worthwhile for you.  Here are a few quotes I found insightful from the address:
Quote 1: "Rock Bottom became my solid foundation"

Quote 2: "Stripping away of the inessentials"
-Kevin
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Kevin Winzeler is a Commercial Photographer based in Utah and available worldwide.

Feb 8, 2010

Future of commercial photography and film?



I'm not sure what this means for the future of photography, particularly in the world of advertising and commercial photography which I'm a part of, but the fact that computer generated images are this realistic, makes me wonder.  Alex Roman delivers the most compelling argument I've seen for computer generated (CG) imagery especially when we're talking about one guy pulling this all together not the whole Avatar team down in Weta NZ for example.  It's pretty insane to think about.  What blows me away is not just the realistic nature of every frame in this film, but the level of art he achieves as well.  There's an interesting discussion taking place at "A Photo editor" with predictions about whether CG will or will not take over the role of a photographer as we know it.  It's a fact that Photography and film are becoming more and more about compositing the "pieces" together to make the final image than shooting everything "in frame".  This bow hunting image is an example from my own portflio (rain, clouds, lightning all composite work).  Unfortunately or fortunately depending on your perspective, in the commercial world it's a question of resources and if the "same" film or photograph can be made cheaper, that notion will rule the day.  Here's another example on the topic:





What are your thoughts?  Does any of this affect the type of photography you do or how you view the world of photography? Chime in!  All I know, is I that I have a ton of real, "live" locations to visit all over the world with photographs to be made in each and CG won't do any of them justice!  


-Kevin
--
Park City Utah, Photographer

Feb 1, 2010

Commercial photographers: 5 apps in my Mac Pro dock

As a commercial photographer in utah there are a few applications I use almost daily.  Without talking about Adobe products, here are the ones I could not live without:

1) Chronosync - (Back-up software - $30)
2) TweetDeck - (Social media - Free)
3) Latest press or publication (keep your latest press in your dock to share)
4) Cyberduck - (FTP Client - Free)
5) SnapnDrag - (Screen shot tool - $1)

What are your favorites?  Share with us!

Here's why I like these applications:

1) Chronosync - My philosophy is that if your back-up system isn't automated, you're going to lose data, at some point, guaranteed!  Chronosync allows you to run an automated back-up every night, hour, or at whatever interval you choose. So essentially, you can back-up as many main drives as you have to as many back-up drives as you choose. This works over both a local set of drives (USB, Firewire) or a network.  Cheap peace of mind.  Now I just need an automated off-site solution.  Any ideas?  Places like Mozy or other online back-up either A) would never be able to back-up multiple Terabytes initially or B) require a huge payment to get your data out if you ever need to.

2) TweetDeck -  I hate updating both Facebook and Twitter separately.  Nuff said.  Not only does Tweetdeck allow you to see your social networking across multiple platforms, it also has a bunch of other cool features.  There's an iphone app also.

3) Latest publications, awards and other docs.  Besides my applications, I pull a bunch of other documents and items into my dock as a reminder of what I should be working on.  If I'm sending out an email to a new prospect or contact, I'll often include some recent press or publication.  Currently, Skiing magazine's shot of the year is handy (see below) for easy access when scripting new emails.  If you have a bunch of new goals for 2010 in a spreadsheet somewhere, pull it up to your dock today.   Remind yourself every morning what the focus for this year is.








4) Cyberduck - There are lot's of FTP clients out there.  I prefer Cyberduck because it's trouble free, allows me to bookmark all of my FTP locations for easy access and It's free.

5) SnapnDrag - I love this application!  Simple as that.  It gets used every day and is one of my favorites.  It's not much more than a "screenshot" tool, but it's the most effective one I've used.  I'm constantly grabbing screenshots (i.e. see #3 above).  One of my favorite features, is the direct email link right in the application.  Grab a screenshot, click "email" and up pops your mail client with the image (screenshot) attached.
Another example:  Client Z asks for a quote (Homepage website usage).  You ask for the size and they point you to their website and say, "just like that top banner".  You say, "great, so the size of the product shot of Kobe's shoe?" client "yep".   "I'll get right back to you".
Now, pull up SnapnDrag, line up the crosshairs exactly on each side of the image, take a snapshot and name it. Next, drag to Photoshop and check the Image Size...ah...915px X 419px.  Now click "email" and confirm with client or send yourself a reminder to estimate usage (since you are in the middle of a shoot right now). ***btw - yes, you can grab screenshots w/Mac shortcut "Shift, Control, Command, 4",  but they automatically go to the desktop and there's no quick email feature or renaming the shot feature.















What are you using on a daily basis?

-Kevin
--
Park City Photographers

Jan 25, 2010

Timelapse Photography



This time lapse photography reel by 599 productions is pretty insane (as in awesome)! The city footage at 3:15 is particularly amazing. I contacted the photographer with a few technical questions and he (Andrew Walker) was super cool to answer them. I thought you might enjoy our conversation, so here you go...

[ME]
Hey Andrew,
Just checked out Timelapse #5.  Awesome work man!  Really stellar.  
I've got a few "how to" questions for you:


1) How many shots per minute are you shooting?
2) What's the best way to put something like this together (Final cut?).  Have you experimented with different final frame rates? Is the #5 video 10 fps or so? 
Thanks in advance and keep doing great work!   -Kevin


[ANDREW]
All the videos I post are at 24fps, just like film. But that is just the playback frame rate. The capture frame rate varies from shot to shot. The shots range from .5sec to 15sec intervals. So far the best way I have found to do the post processing on this is to use Lightroom and FCP. I have tried After Effects and you could do everything in that program and then some. But I have had nothing but problems outputting from it.  Glad you liked the footage. I'm planning for a slightly longer video that will have my best of stuff in there. But that's a couple months away.


[ME]
Thanks for the reply Andrew.  For your night shots, what are you finding is the limit on ISO with the 5DII (or find you are shooting at most of the time)?  You have a ton of depth of field in almost all of your shots and relatively minimal noise. Are you using any noise reduction in LR? Also, in terms of file type and size, are you exporting all images from LR as Jpgs or Tifs (8bit, 16bit)? And merging into Final Cut.  Thanks for the advice.  It's really helpful.  I look forward to seeing a compilation (best of) segment. Send me a link when you post it.


[ANDREW]
The ISO for the night shots vary from 200-250 for the cityscape stuff and 3200 for all the star timelapse. But I have used around 400 for some city stuff, you just need to find a good balance. For the shots that have the high ISOs I am using some noise reduction in Lightroom. All the images are resized to 1920x1080 16-bit Tiffs. I use to do 8-bit for all my stuff but I found that 16-bit handles the gradients better. Then after the output I import the frames into FCP and have it assemble the frames.
-- 
Park City Photographers

Jan 9, 2010

Latest photography podcast: The Candid Frame


If you're like me and can always use more quality photography material to listen to while on the road, then I highly recommend this series of Podcasts by Ibarioinex R. Perello here: The Candid Frame.  Grab the iTunes version if you have an iphone or ipod handy and enjoy the show as Ibarionex asks insightful questions to photographers spanning all genres and levels of success.  Really great stuff!
---------------
Two surfers head out for a few waves on the North Shore of Oahu, Hawaii / Surf Photography by Kevin Winzeler


---

Kevin Winzeler

Dec 29, 2009

Interview with Hans Zimmer: photography parallels

I came across this interview with the brilliant and well respected, Hans Zimmer -- you know, the guy who's composed just about every famous movie score you can think of (Rain Man, Gladiator, Lion King, Pearl Harbor, Black Hawk down, Power of One, The Dark Knight -- just to name a few).  His most recent work is for the new "Sherlock Holmes" movie, which I have yet to see, but plan on it soon.  As I listened, I found myself drawing several parallels to the life of a photographer.  I'm inspired by leaders in their respected fields and Hans is no different....It's worth a listen!


Click on the link below and scroll down a bit for the Audio interview
http://www.heyuguys.co.uk/2009/12/16/exclusive-interview-with-music-maestro-hans-zimmer-for-sherlock-holmes/


I put a few of Mr. Zimmer's thoughts below and then in italics some of my own as it relates to photography:

Opening minute: 
Coming off of one success (The Dark Knight) to making another success (Sherlock Holmes)

[If we've had a recent success in photography, how do we push through to the next project to make it as good (or better) than the last.  How does the pressure affect us, etc.]

Minute 2:10 (how he concepts his ideas)
-Writes based on a concept, Watches the movie, Sits down with director (in this case Guy Ritchie) to hash out some ideas - irish music, gypsy music in the beginning of this one.
-How to make sequels (Pirates of the Carribeans was his first sequel).  Use all of the original tunes, but quickly got boring...

For Dark Knight - pretended he didn't have anything to start with and didn't reference Batman Begins when sitting down to write the music for The Dark Knight.

[I was thinking in terms of getting re-hired by a client or getting hired to shoot the same shot you've done before for another client.  It can at times, feel boring or without life.  How do we shoot with new life each time even if it's a project, concept or shot that we've done a million times?  Any thoughts here?]

Minute 5:45:
What it's like to watch the movie all the way through with an audience for the first time and what their reaction is like. "2 seconds before they raised their hand, felt like ten years..."

[This sets up to be a perfect visual in my mind as I see Hans Zimmer, Guy Ritchie and producers anticipating the reaction of their first audience to scenes, reveals and music they've spent hour upon hour rehearsing shooting and editing.  As photographers, we spend this excessive time ourselves, especially when shooting commissioned work where satisfying the clients demands is top priority.  However, whether being paid or not, whenever we put our best work out there, watching our own "audience" react can be extremely nerve racking.  Each time I press the [send] button on an email to a client with work from a project, a little prayer is offered in hopes that I've hit the proverbial ball out-of-the-park.  I've had my fair share of balls that didn't quite make it to the pitching mound as well as the occasional home run.  When the audience (client) doesn't provide a standing ovation, there is a little engine that fires up within and works to understand where things may have gone wrong and practices over and over to improve upon it for the next round (I'll be the first to admit this can get out of hand sometimes if you overanalyze like myself).  Going back to the "fail video", I recently posted.  there is absolutely nothing wrong with missing the mark as all people fail and great people fail often.  The caveat is that you've absolutely given everything you had to the intended shoot/project.  If I've put everything into a project, as alluded to by Mr. Zimmer next, at the end of the day, I can go to sleep feeling satisfied without needed the applause of the audience.  I am the first and most important audience to please independent of the critics and voices out there.  Being true to ourselves as artists in this regard brings those projects (both personal and paid) that we most enjoy anyway]

Really interesting from minute 6:45 on..."We put everything into these movies.  We put all of our heart and soul."

[The great artists, entrepreneurs, and people find a way to put their whole "heart and soul" into something.  They completely immerse themselves into their chosen field.  Even within photography, it's easy to start shooting a particular subject or type of work because it's, quote, paying the bills.  This is a good reminder to A) put everything we have into a project and B) go after those shoots and subjects we are most passionate about shooting]

Minute 27:59:
"At the end of the day you write (shoot) for yourself"
"Be bold about it. Don't be shy."
Minute 30:
"The job is to get better.  The job is to learn something.  The job is to have new ideas."
Minute 30:30:
"If you stop running, it must be really hard to get the muscles back up....the idea muscle"

[This is my favorite block of quotes from the interview.  Here you have an extremely successful composer/artist that is talking about getting better at his craft and learning something new every day.  If there's a list of people that have "made it" in their respective fields, he would probably be on that list and yet it sounds like his mentality is likely the same as it was on his first major motion picture.  We are always growing as photographers; finding new ways to express ourselves and challenge ourselves.  Exercise the muscle as often as possible!] 

I'd love to hear your thoughts on the interview.  Any new insights or parallels you can draw personally or professionally?  I look forward to a good discussion!

Dec 21, 2009

Live Portrait








I find something completely fascinating by this "living" portrait, shot by David Stewart.  Great work david!  I can imagine a lot of great frames if you were shooting a still portrait here as well.  The first thing I'm drawn to, as in any great portrait (moving or still), are those amazing eyes. The power of the eyes in a portrait are central to telling the story.  Furthermore, I wonder where this young lady just came from, what she is thinking, what she is watching or listening to as this video is taking place.  The great portrait photographers seem to be able to establish a quick connection with the person they are photographing.  It's as if for a time, the camera doesn't really exist and it's simply two people sharing a connection that makes a great picture (or in this case video).  What really strikes me about this piece, is that the connection is really there.  I think there's something to learn for still photographers here as we all too often have that awkward time right before we start snapping pictures where the subject isn't quite sure what to do, where to stand or how to look.  Is there something to learn from thinking about a portrait in terms of motion?  Maybe so...
Give us your thoughts.
----
Kevin Winzeler Photography
Utah Photographer



Dec 12, 2009

Follow your dreams! (Joe McNally: Letter to a Young Photographer)

Advice from Joe McNally to a young photographer (age 19) looking for direction... just in case you missed it.  It's well worth the read!

Here's a piece that really stuck out to me...

"One thing my dad did tell me, and it has echoed in my ears for a long time. He was the quintessential corporate man, a salesman, and in his later years, he became disgusted with the ways of his world, and told me on numerous occasions, “hang out your own shingle.” Which is what I have done, and been happy to have done. The jalopy called McNally Photography has transmission trouble, a couple of flat tires, and not all the cylinders fire, but it still moves, and I drive it where I want to go. There is a great deal of value and satisfaction in that, as I look back. I’m still standing, and lots of others fell away or played it safe or never tried."

Read the rest here:  LETTER TO A YOUNG PHOTOGRAPHER

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Kevin Winzeler Photography
Utah Photographers
Advertising Photographers

Dec 3, 2009

What Camera, Lights and Software should I buy? ($1,000 to spend)

I get asked at least once a day from people getting into photography, what I would "recommend" when  buying a camera, lighting equipment and software.  I had the opportunity to speak to a group of creatives this past week on "Photography: Tools of the Trade" and put together this little hand-out to serve as a quick introduction to newcomers and hope you'll find some useful info yourself.  I've made all of the following information available as a free resource to download here: Photography: Tools of the Trade.  Feel free to print it and share it!


CAMERAS


Think of camera shopping like marriage.  You are selecting a companion for the long haul, so make a good choice.  When you buy a camera you are buying into a system that will grow with time and become a substantial investment if you pursue photography long-term. 


#1 Tip - Go spend as much time prior to buying into the system as possible. Visit local stores, borrow your friends camera and decide what you like and dislike about certain systems first.


TWO MYTHS Dispelled:
#1 I need more Megapixels  --  
Did you know? 

-A Four (4) Megapixel picture will completely fill a 30” monitor? (2560 pixels X 1600 pixels)
-10 Megapixel camera makes beautiful 20”x30” prints!


#2 Camera body determines image quality. Not completely. 
factors in order of importance:
1) Light
2) Lenses
3) Post-production
4) Camera body 



LIGHTS


"You only get one sunrise and one sunset a day, and you only get so many days on the planet. A good photographer does the math and doesn't waste either." - Galen Rowell


Understanding light is more important than anything else in this post.  Study it and learn how to use it.


Bow Hunting Image:
Canon 5D with Canon 24-105 Lens
Canon 580EX II x 2 with Pocket Wizards Triggers
Post-production Composite: Lightning, Cloud layer and Partial Rain (via Photoshop CS3)




1) Sun (Always light #1 to consider)
2) Reflectors (light #2 - portable, cheap)
3) Strobes (don’t be afraid)
*What I use:
a) Small Lights
-Speedlights (Canon 580 EX IIs)
b) Big Lights:
-Elinchrom RX600 & Ranger
c) Wireless triggering:

Pocketwizards Plus II’s
Skyports




SOFTWARE and RAW Files


What is RAW and why use them?
1) Highest quality, most flexible file type
Ability to change the White Balance (temperature) on the fly (in post-production)
Dynamic range is greater
Recover blown out highlights


When do I shoot in Jpeg format?
Family gatherings or events (quick to share)
Need more buffer than RAW allows (Sports)


Software I use:
Picasa - Free
iPhoto - Mac Only (free)
Lightroom- $199 (my recommendation for workflow and 90% of editing)
Photoshop CS4 - $650


iMovie & Final Cut (video)


*BACK YOUR UP IMAGES TODAY! It’s Cheap!  500GB for less than $100. 



Quick Tips for Great Pictures:


1) Compose your subject anywhere except the center of the image.  Try cutting out a small, square sticky note and paste it right in the center of your LCD as a reminder
2) Stop shooting at Noon.  Go out at sunrise or sunset for some beautiful “golden hour” light.
3) Shoot at different heights. Experiment taking pictures laying on the ground or standing on a ladder.
4) Force yourself to go manual; understand how shutter speed, aperture and ISO work together for exposure and effects.










Trail Running Image:
Canon 5D Mark II with Canon 16-35 II f/2.8 Lens
Elinchrom Ranger Pack w/ Single Light and Small Square softbox, triggered via Pocket Wizards Plus II”s
Post-production: Lightroom 2 + Photoshop CS3.  Minor contrast, dodge and burning


$1,088 TO SPEND TODAY??





FIRST, go to a store, borrow from a friend and find out:
1- How does the camera feel in your hand
2- Play with menus, settings and functions
3- Remember this is a marriage, spend time courting


A) Two Camera Options


$850 - Nikon 5000 + 2 lens kit (Amazon) OR
$899 - Canon T1i + 2 Lens kit + 4gb (Costco)


B) Accessories
$89 - Lowepro Slingshot 200 bag
$100 - Tripod


Software
$Free - Picasa or iPhoto


-----
Kevin Winzeler Photography
Contact us for photography, workshops and speaking engagements: 801.319.8023, Info@kevinwinzeler.com

Nov 27, 2009

Black Friday Special - 2010 Calendars For Sale

The 2010 Calendars are done and ready to ship!  I am extremely happy with the results this year and the price is killer.  Choose from the adventure calendar featuring photography of sports like Skiing, Kayaking, Surfing, Rock Climbing, mountain and road biking, Snowboarding and more.  The landscape calendar features photography from all over the United states including the National Parks of southern Utah to beautiful tropics of Hawaii. Pick up one calendar for $13.99 or three for just $10.99 a piece.


BUY NOW HERE: 2010 CALENDARS FOR SALE


Nov 24, 2009

Bird. Photography.

If you haven't seen Andrew Zuckerman's photography before, you are in for a treat.  Over the weekend, I had a chance to browse, study and appreciate his latest offering to the world in the form of a project he calls  "Bird".  The personality and detail he's draws out of his subjects is mindblowing.  This got me thinking of a white seamless project I need to start!




Also, check out his last project called "Wisdom" where he traveled the globe photographing and interviewing some of the most promiment people of the 20th century in search of "pearls of Wisdom".  I don't buy many fine art photography books, but this one is on the Christmas list.

----

Utah Photographer
Advertising Photographer
Sports Photographer
Salt Lake City Photographers

Nov 17, 2009

A few days of peace: Landscapes in Zion National Park


I'm a sucker for landscape photography, especially during Autumn.  I'm also the first to admit, that it's kind of crazy to take a so-called break from commercial photography by continuing to pick up the camera and shoot more pictures.  However, there's something completely different when you are in a National Park at sunrise, without the thought of a shot list, strobes, assistants, art and creative directors and all the other intricacies that makes up the world of advertising photography, that is simply refreshing.  You, the camera, and some of God's magnificent creations all come together as the perfect escape from the 9-5 job.  Shooting in Zion National Park was this much needed break and since it's a relatively short jaunt from where I live (3.5 hours or so from Salt Lake City, Utah), it was a no brainer.


I'm wrapping up my 2010 Landscape and Adventure Photography calendars this week and after last year's extensive "artists statement" found on the opening page, I've decided to keep it short and sweet this year...


"There's a lot of noise in the world.  Find some place to ponder each day, preferably outside."
-Kevin






Gear Used:
Canon 5D Mark II
Canon 24-105 Lens
B+W Circ Polarizer
Clik Packs

Utah Landscape Photography
Utah Photographer
Advertising Photographer

Nov 9, 2009

2009 "SHOT OF THE YEAR" - Skiing Magazine


Sweet photo eh? Any takers on the lighting set-up (hint: lot's of bounce fill, via snow), equipment used or what sweet, vintage Lightroom preset was applied?  I'm sure the shot was taken with some sweet Kodak Gold Max 800 film and whatever camera they used back in the day (me at age 4).  I doubt my parents ever proclaimed themselves sports photographers, but I can't thank them enough for putting me on skis at such an early age!

If you'll indulge me, I'd like to take a quick trip down memory lane. For starters, I'm pretty sure I jumped on my first pair of skis at the ripe age of 3. My dad would haul the munchkins (me, bro & sis) up to Breckenridge Ski resort, a good four hours from our home in Fort Collins, Colorado. We would make this trip at least twice during the winter months and since my birthday was in February I'd usually talk him into taking me on a third trip, "weekender birthday bash", to get a few more days on the slopes. Fast forward a few years and we landed in Utah, home to the best ski conditions anywhere. When my 10th birthday rolled around I hauled my mom to the local sporting good store to pick out a brand new pair of Rossignol skis, after having saved $60 the entire year (parents threw down the rest). I wish I still had those bad boys! The fun continued in Park City, Utah, where I attended high school and somehow talked that same mother into letting me end classes most Thursdays and Fridays by noon. 100+ days a year was always the goal and we usually hit at least that number. That 'bout brings us to the present day... (plus 10 or so more years...shhhhh).

So, when the Art Director of Photography for Skiing Magazine called recently to inform me that one of my images had been chosen as one of two "2009 Shots of the Year", you can imagine my excitement. Skiing is in my blood and photography is an extension of that. When I go out to shoot, I go with a passion to convey an emotion with people...to help those who have never touched snow to know what it feels like to peer out your bedroom window before sunrise and see huge flakes floating to the earth; to be the first person in the lift line on a waist deep powder day and after an anxious ride up the mountain, float effortlessly through the white stuff, screaming at the top of your lungs 'cause your having so much fun. That's part of the motivation behind much of my imagery and the reason I love to shoot what I shoot.

Thanks mom and dad! Thanks Skiing Magazine! And thanks to athlete Jared Allen!




A great ski image is only as good as the Athlete involved and huge props go to Athlete, Jared Allen for his pristine form and huge air. Jared is not only a phenomenal skier, but a fantastic designer and one of the coolest guys on the mountain. Check out more of his skiing at chrubble.com

Tech stuff:
Canon 5D Mark II - 1/640th, f/10, ISO 500
Lens: Fisheye 15mm
Lighting: Natural (diffused ambient)

Location: Snowbasin, Utah

Nov 2, 2009

FAIL QUICKLY




Hey mom and dad - look, I'm not a failure! :)


Okay, this video clip should not be used as an excuse if you are lazy and need a something to justify your actions. However, for the majority of us out there who work hard to improve our photography skills, whether professional or not, sometimes life just calls us a "failure". This little clip will inspire you to keep moving, despite what other people are saying.


You've probably heard or seen a few of these stories before, but I'll bet you'll find a new takeaway at the end of the 76 seconds and decide to do something you may very well fail at. I'm sure you can make your own list of things you would do "if you knew you could not fail", but for the record, here are a few things that I need to do:
  1. Call the executive at xyz company and schedule an appointment to present my work
  2. Approach 5 strangers on the street for a portrait session
  3. Enter the Leadville 100 mountain bike race (as a rider :)
  4. Work on my public speaking
We've all heard the "failing speech" before. I'll be the first to admit that sometimes failing at one thing will push us to an area we are better to pursue anyway (read the book Strengthfinder 2.0). However, the greatest accomplishments in my lifetime have come after repeated failures. This happens all of the time in photography, especially location work, where things can be somewhat unpredictable. Take this sports photography image of a water skier. This image was created as a personal project, but with completely different intentions than the outcome here. My original concept was to capture an action shot of a water skier at the peak of a cut from within the water. We hit some horrible weather about half-way out to our location and had to turn the boat around. To avoid total failure, we decided to shoot a lifestyle shot that would still capture the essence of water skiing. We sped back to the harbor, to avoid the approaching lightning storm. With waterproof camera case in hand, I jumped into the water (not advised during lightning storm) and within about 5 minutes, I knew I had a nice image with quite a bit more drama than I had originally anticipated to work with. For those interested, the lighting set-up was a single light, camera left without any diffusion and held by brave assistant (light stands are not advised during a lightning storm). Plan A had failed, miserably. We didn't even Ski! Because we were open to other possibilities, the failure turned into one of my favorite images. Now, it doesn't always happen like this; and if this had been an advertising photography campaign shoot, with a high paying client, creative director on set and the whole enchilada, then the concept would have been executed the next day or whenever the weather decided to let up. Even then though, there's still an opportunity during some of those shoots to trust your instinct as a photographer, what you see, convince those around you and create something anyway, sometimes better than what had been storyboarded. Failing is good. Okay! seriously. Fail quickly and frequently and most importantly learn from those failures. Persistence pays off.


*Preferably, don't fail on high profile, once in a lifetime jobs (dream commercial clients & weddings come to mind).


-Kevin
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Kevin Winzeler Photography