Fruit Flies

A few months ago we were inspired by some work we saw in PDN and wanted to shoot some food photography using a fish tank and some fruit. The post processing on this shoot was pretty complicated and worth revisiting.

When you know you will have a complicated retouch ahead of you, its important to simply keep this in mind while you are shooting. This might sound obvious, but there are some things you can do during the shoot that will help on the back end. In this shoot we tried to get as many different shots of clean water lines as possible to use for composites, generally the more you have the better. We also tried to keep the water as clean as possible. Changing out the water to get rid of orange pulp is generally easier and less time consuming than taking it out in post. As much as I like pulp in my orange juice, lets face it, floaters aren’t attractive.




Once we selected the most interesting splashes, opening them in Photoshop and fitting them all together to form the composition we wanted was a somewhat subjective group effort. Several variations were made before we came to the final image. Doing things like converting the layers to smart objects to avoid data loss, masking out everything but the focus of each layer, and lowering the opacity of each layer until you have everything in place can help keep from spinning wheels. Otherwise it can be difficult to visualize exactly where to place things.



The next step in the retouching process was definitely the most time consuming. Taking out all the dust specks and orange pulp looked pretty daunting at first, but I saved a bunch of time by just making a solid black layer rather than trying to use Photoshop’s clone stamp to take out every speck. By making a black layer as the top layer and using a mask to cover the dust specks you don’t have to flip between different layers or tools. I find that simplifies things. You could also flatten the entire image and use the brush or clone stamp, but I like to keep the layer separate as long as possible just in case I need to go back and make another edit to the layout.
The only thing left to do then was cleaning everything up and making sure all the lines connect properly when moving from one composite image to the next. In the end the composited image took approximately four hours from start to finish. All said and done, we had a few new images for the portfolio so needless to say, we were excited about the results.

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One Year and a Bit On...with a Shiny New Look

I'm sorry - this last year was a little bit eventful and I kinda lost track of blogging. So, let me see if I can bring this blog back up to speed.

First off let's talk about the studio; I know that's pretty much all I ever talk about, but it's been a pretty eventful experience and one that has been exceptionally rewarding. As we started wrapping up the final touches (for now) on the front door I wanted to share some before and after shots with you:




















As you can tell the interior and the exterior is finally getting to a point when I can have a day off! The other big news for last year was the photography - basically it rocked. Overall I ended up with my best year ever, worked with some great new clients, delivered some fantastic images to my lovely existing clients and really had a blast. The plan is to start showing those images off on the blog over the next few weeks so I can share it with you.

Last but not least, after almost fourteen years, I was finally eligible for and passed my citizenship exam. This means that sometime in the next few weeks I'll be swearing in and then we'll have a party. A big party.

Credits for all:
Vox Theatre
Springboard Creative
Yoakum Photography
Morgan Jacobs Contracting
Nichole Evans
Stephanie Malcy
Jeff Berney
Sol's Glass
Prairie Cube
Deco Catering
To all the many, many volunteers, wonderful clients, fantastic assistants...
...and of course my beautiful, wonderful wife, Angela - she's awesome don't you know.

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New Happenings

Well, it's been quite a while since I last posted and during that time I've had some incredible shoots for a while variety of clients but I've failed to update the killer blog you've all come to know and love.

So here's the news I've been working on getting a dedicated studio space for shooting and office out of and I think I finally am on the home stretch for it. The only remaining hurdles are an environmental survey and the inevitable appraisal. If both of those go to plan the close will be on 1/5/8 and the construction work will begin relatively soon after that.

If you want a sneak preview please give me a shout and I'll arrange it as I now have access to the space. Thanks for your patience during this time and I look forward to working with you all at 1405 SW BLVD in the near future.

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New Portfolios

Woohoo! I finally got around to linking all the new portfolios to the blog site; you can use the menu bar above or click on the links below and please give me feedback on what you think of them.

Portfolios:
Main Portfolio
Architecture
Food
Persona

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Dogtastic...

Here's the whole clan. If you haven't met the team they are Sequoia, Aine (pronounced Awyna) and Bigsby. They're very good fun and this was all from a mass dog shoot at the studio.

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Remiss - Aine

Well, it was a tough month, hence a little slow down in blogging. I've had some great shoots and those will be rapidly uploaded after this post. After twelve wonderful years our beloved dog Remiss unfortunately passed away. She has been my wife's constant companion since she was weaned from her litter mates and has been a wonderful friend to me since we first met four years ago.

Of course we couldn't stay a two dog family for long and Angela soon found a gorgeous Great Dane puppy that we've fallen in love with and named Aine (pronounced Awyna).

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Urban Photo Safari 2008; I'm a winner! - Alistair Photography

The results are out and yea verily I'm a winner...a joint winner. There ended up being over sixty entries and the other winner was a fantastic location portrait by Kevin Sisemore. It was an absolute pleasure to participate in the Safari and it was great fun to see all the different views of Kansas City. Thanks to Doug for organizing it, the guys at Indicia for hosting it and of course everyone for participating.

Great fun and make sure you're there next year!



Credits:
Urban Photo Safari 2008
Kevin Sisemore
Dog - Bigsby

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Urban Photo Safari 2008 - Alistair Tutton Photography

This was a wonderful day; I've seen the event for a few years but I always manage to miss it. So this year I was really happy to see a link to the event before the event at flow14. I had a great 14 hours zipping around the map and checking out locations new and old and wrapped it up with a shoot with the ever photogenic Bigsby.



Credits:
Urban Photo Safari 2008
flow14
Dog - Bigsby

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Size Is Important...

So I broke down and got a new toy; or rather I realized the need to purchase another essential photographic tool. This time it's a 9' tall tripod. And what the heck do you do with a 9' tall tripod; well you take those photos where you have to be up really high. In this case I will have an example to show you all in a couple of days from the very first shoot I had after purchasing it - always nice to immediately use the new toy/essential photographic tool.

Oh yeah and that's my beautiful girl Quoia - she rocks.


Here It Is:
Manfrotto 3058

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Downtown Architecture - Alistair Tutton Photography

It's been a LONG TIME since I had an opportunity to simply walk through downtown Kansas City and I had a wonderful time checking out some of the new projects and really enjoyed seeing how the city is becoming such an incredible place. Thanks to Alex Grigsby for his company.

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Something's Fishy...

Angela and I got together working on a new idea for some promotional images and we grabbed two of her beautiful Betta fish. If you've seen our fish collection you know you'll be seeing some more of these images in the near future...

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Wireless No No...

Okay, so with the fancy new camera I picked up the Canon WFT-E2A; which is a fancy wireless file transmitter that enables you to interact with your computer as if you were tethered with a cable. You can do all the fancy Live View, remote shooting gymnastics and the files come straight into the editing software.

Sounds cool hey! But in practice the software or the connection just simply won't work for these file sizes or the speed of shooting. My experience was that when I filled the buffer up it would crash the EOS Utility software on the laptop and force you into rebooting the computer and with a 22MB body and a forty second download time per image that buffer is pretty easy to fill even when shooting architecture. So it went back to the maker...


Here It Is:
Canon WFT-E2A

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New Body for Alistair Tutton Photography

Yep; it finally happened. I swapped in for a new body. Unfortunately I still have my love handles - but I also now have a brand new shapely Canon 1Ds Mark III, or bloody big camera. It's been four years in development and it was definitely worth it. Beyond the megapixels it's got more color, more dynamic range, a better interface with the computer, more customization, a better processor and it's lighter! It's been making some very pretty shots and it's definitely time I got it. The photo is of the new body with the old body in the background - not much difference in that view except the fancy numbering...but trust me it's better.

The only complaint I have is that it's a little slow on the buffer - probably because it's trying to stuff 22MB of data into the card at five frames a second...but it's still a complaint!

The best review I know of it is by Bryan Carnathan. He does wonderful Canon equipment reviews. The Canon site is here.

The best part of buying the new body was actually buying it locally and not going through the usual internet vendor. Photographx did a wonderful job of getting the product in while there was a national shortage and it reminded me of how much fun it is to purchase products at a store!



Here It Is:
Canon EOS-1Ds Mark III

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New Digs for Alistair Tutton Photography

I just started shooting in new digs! All the editing and office stuff is still happening back at Genessee but I'm going to be shooting all kinds of new studio work in my 2,500 square foot studio in downtown Kansas City. It's located on the corner of 10th and Broadway and is simply fantastic. If you fancy a tour give me a call and rest assured it's got a well stocked fridge!

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How to Work with an Architectural Photographer

This lecture was written as for a "Lunch and Learn" presentation to the Kansas City chapter of the AIA and was presented to a full house on the 30th August 2007. The purpose of the lecture is to try and present a best case working methodology for using an architectural photographer. While this presentation might reflect my best case I would love to hear suggestions from other people on ways to improve the various steps.




Picking a Photographer:

1. Where do I find them?
   
   1. Referrals are a great source; look at the work produced by other architects and ask them what their experiences have been with their photographers.
      
   2. Look in magazines and learn to read sideways to check the photo credits. Almost all magazines work very hard to legitimately credit the work, whether contracted by them or supplied by an architect or designer.
      
   3. Several Internet sites list photographers who have joined the organization as members. These lists are typically categorized to make finding individual photographers easier. Here are some listings I recommend:
      
      1. http://www.asmp.org/
         
      2. http://www.retailfix.com/awards_10Photography.cfm
         
      3. http://aiap.net/
         
2. How do I pick them?
   
   1. Ultimately all photographers are artists whose style and working methodology are virtually unique. Here are some steps to evaluate those subtle differences:
      
      1. Review their online portfolios – please remember this is a selection of their best work. Try to get a look at an individual project in its entirety.
         
      2. Invite submittals for photography that’s similar to the work produced by your firm; try to think laterally as the work photographed may be in a different genre but have a similar look and feel to your project.
         
      3. Ask for client testimonials and see if you can contact their existing clients – this is much better than a cherry-picked list of clients and is an opportunity to learn how the photographer works.
         
      4. Invite the photographer in for a portfolio showing. This is your chance to get some face time. It is worth preparing some basic questions, not only of their work but also of their working practices, so you can compare photographers in your own terms.
         
      5. You should always solicit a bid from the photographer(s). Any bid should include a basic level of detail that itemizes the number of images, the length of time of the photo shoot, and, most importantly, the usage fees that are being transferred to you. It should also list any extras that may be required. It’s very common to be asked to deliver several bids without winning any contracts, but please inform us clearly as to why we may not have won any particular bid.
         
      6. If you have a critical project, it has been a while since you reviewed your photographers’ work, or you want to have a review with other members of your firm, it is perfectly acceptable to call in a group of photographers’ portfolios and review them collectively without the photographers being present.
         
      7. As you meet with photographers, create a database that includes cut sheets of prospective photographer’s work, rate information (although, realize this will change over time), and contact information. Put it in your planner to invite updates quarterly or annually, depending on your use of photography.
         
3. What should I expect to pay?
   
   1. Unfortunately, this is a difficult question to ask. The overwhelming majority of the photographers you will work with are self-employed and the industry has no set pay scale. Different photographers charge entirely different amounts for identical services, and charge entirely different categories of fees. All photographers are trying to make a living from selling photography and want to maintain their equipment while delivering exceptional images. We’re not trying to rob you!
      
   2. That said there are three basic elements to most photographer’s fees:
      
      1. Shoot fees are typically charged by a day rate or half-day rate.
         
      2. Usage fees are sometimes charged by the shot, sometimes by the shoot. These fees can be charged for periods of time and for methods of usage, although I typically offer Unlimited Usage in Perpetuity for the firm that contracts me. It is vitally important that you clearly establish your legal rights to the work as the photographer almost undoubtedly holds the copyright and can control your right to display and distribute those images.
         
      3. Extras can include a wide variety of things. Examples include:
         
         1. Digital media
            
         2. Post-production fee
            
         3. Scouting fee
            
         4. Assistant fee
            
         5. Lighting and other equipment rental
            
         6. Travel fees
            
         7. Overtime
            
         8. Props
            
   3. An individual photographer’s rates are whatever that photographer feels is appropriate. Don’t be afraid to negotiate, but please do so delicately and reasonably:
      
      1. Always try and present an annual budget so you can demonstrate the value of an ongoing relationship to the photographer.
         
      2. Be prepared to offer multiple projects to obtain lower fees, but these projects should be contracted as a group for a photographer to appreciate the value.
         
      3. Review the rates in relation to the product and see if there are services you can cut – additional lighting rental, extra assistants, post production work you can perform, etc…
         

Pick a Project:

1. Which projects should I photograph?
   
   1. Take a look at your target markets and your existing portfolio. It’s best to know in which areas you want to pursue work and to build balanced portfolios to represent those particular design skills.
      
   2. Look at your existing portfolio and think about re-shooting your most interesting projects to keep your portfolio up to date and create a brand identity through your photographer.
      
2. How often should I photograph?
   
   1. Continuously: Try and get used to photographing projects on an ongoing basis so you can get the project when it is fresh and untouched. It will also be far more enticing to the national and local press sources.
      

Preparing to go on Site:

1. Who should schedule the shoot?
   
   1. The photographer or you can schedule the shoot; if you have confidence in the photographer’s social skills, it may work well to have them schedule the shoot so you don’t have to schedule both the client and the photographer.
      
2. To Scout or not to Scout?
   
   1. You should always scout if possible. Following the scout have the photographer upload the images for review by the folk responsible for marketing the firm, those responsible for the design on the project and the principal(s) responsible for the project. Re-shoots are expensive and irritating and should always be avoided, if possible, and the best way to do so is to scout the location and share that scout.
      
3. What do I need for props?
   
   1. This is best determined from the scout. You might need large plants to soften an exterior photograph, fresh cut flowers for an interior, plates and table settings for a restaurant, people to provide scale and life, etc…
      
4. What considerations do I need for an individual site?
   
   1. Access: When is the site available for the photographer to scout and complete the final photo shoot? Do the photographer and assistant need passes for security?
      
   2. Sunlight: Think of daylight for the exteriors and interior. Obviously, the big, bright, nuclear light is very important for exteriors but it can be vital or disastrous on interiors depending on which direction you are shooting, what orientation the building has, and at what time of day you are shooting.
      
   3. Lighting: Locate the switches and mark them. Look for dimmers, check wattage and type of bulbs, get low wattage bulbs and replacements for burn-outs as necessary.
      
   4. Power: Identify where the breaker panels and outlets are to allow for ease of light placement and resetting a breaker if it’s tripped.
      

Going on Site:

1. How do we time the day?
   
   1. This will typically be affected by natural light conditions and access. This is where that scout proves to be so useful. Based on a scout, I determine a shot list and work in that specific order. Typically, a photograph can take forty-five minutes to an hour and a half to stage and capture, depending on the complexity of the lighting and props.
      
   2. On a more complex shoot, where natural lighting is critical for later shots, it is best to determine a rough schedule and periodically check-in to review progress. If you need to change the order of the photographs to ensure you capture the best work then it is well worth doing so.
      
2. What sort of room do we need to work in?
   
   1. Check with the photographer on how much equipment they will be bringing and find a suitable unloading and staging point. Typically I work with a 12’ by 12’ space to simply unpack the equipment and use as a central location for the cases.
      
   2. Working tethered (connecting the camera directly to a laptop) is preferable, but when a camera can’t be connected to the laptop it is very useful to stage the laptop and critical camera gear in a central location to speed up the shoot.
      
3. What input should I expect to have with the process?
   
   1. This all depends on the photographer. I feel that it’s your money and you should have a say, but always listen to the photographer and see if you can develop the photo together using their skill and your desire for a particular angle or feel. Ultimately, we’re not just button pushers, but we don’t necessarily realize everything that you want to accomplish with the photography.
      
   2. There are some big no-no’s with some photographers that I typically don’t let worry me too much. These can include:
      
      1. Touching the camera
         
      2. Looking through the view finder
         
      3. Moving the tripod
         
      4. Moving the lighting equipment
         
      5. Saying anything except yes that’s a lovely photograph let’s move to the next shot – some of us are prima donna’s
         

Post Production:

1. What happens to all those photos?
   
   1. The photos come back to the studio and the photographer brings them onto their computer. At this point the photographer (or a digital technician) may execute any of the following work depending on the photographer’s contract with you:
      
      1. The photographer corrects photos for minor imperfections (dust on the sensor, subtle changes in contrast, tone and color) to create a matched set of images.
         
      2. The photographer performs major changes pertaining to cropping, color temperature, merging multiple exposures for burn-outs in highlights.
         
      3. The photographer retouches the image to remove light switches, random bits of plumbing, miscellaneous light fixtures and all manner of other stuff.
         
      4. The photographer post processes the photos, archives them in their system, and burns a disk for your use.
         
2. How quickly should I expect to get the photos back?
   
   1. This depends entirely on the photographer’s work load and their commitment to you, but it can take one to twelve hours to perform a decent post production process on each image. Ultimately, you should be very clear on how soon you may need the images; often I’ve prioritized a particular client’s needs related to a competition entry, ad, or an email press release.
      
3. How should I store them?
   
   1. Match the industry standard is the best way, three locations and at least two different types of media. Keep it on the disk from the photographer, keep a live copy on your server, and keep another copy in your back-ups or on a spare disk. One of these locations should be completely removed from the first two. Always have three copies on two different types of media. Always have three copies on two different types of media. Do I need to say it again?
      

Ongoing Relationship:

1. How do I keep in touch with my photographer(s)?
   
   1. Feel free to invite your photographer to send in new work they’ve captured for other clients so you can keep an eye to new projects and new styles; photographers develop their style as much as you develop your tastes.
      
   2. You should give them plenty of notice of upcoming projects to ensure their availability and confirm the consistency of pricing and services.
      
2. How do we get better and better work?
   
   1. It’s an ongoing relationship with the photographer; talk about the results of the shoot and definitely let them know if you’re not happy.
      
   2. Cut and save shots you like, whether it’s a magazine, a catalog, a rivals marketing; always try and think about your “look” and communicate that with the photographer. The photographer is definitely looking at other peoples images, so you should too.
      

Appendix:
ASMP Working With An Architectural Photographer
How to Work with an Architectural Photographer Word Document

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AIA Architectural Photography Presentation - Alistair Tutton

I just got a chance to present to the local chapter of the American Institute of Architects (AIA) and had a fantastic time. The lecture was How to Work with an Architectural Photographer and it was an absolute blast. There was a full-house and Octavian Cantilli helped me tremendously by photographing the event. If you were there I hope you had a fantastic time and I'll look forward to presenting to you again soon. Thanks to AIA Kansas City for all their help.



Credits:
How to Work with an Architectural Photographer
AIA Kansas City
Photographer - Octavian Cantilli

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