angela_n_hunt: (blue eyes)
I have slightly different requirements, but here's Kyle talking very wise about what to pack when you are a traveling photog. I think the only thing that might be different with my pack out list is the occasional party dress, heels, and make up. Always wear whatever jewelry you are going to need at your destination, so keep it simple and classy, if jewelry is your thing, like it is mine.

And here's Kyle...

Originally posted by [livejournal.com profile] kylecassidy at The Blog Post on Packing
I travel a lot. A few weeks ago when I picked up Amanda in the airport we talked about the best ways to stuff stuff into stuff and I realized that I should do a comprehensive blog post about it. So this is how to be a globetrotting photographer, getting your things from one place to another with the least hassle.

(tl:dr get functional clothes that pack small and perform multiple purposes, be organized, don't weigh yourself down with things that perform only one function.)


1) Pack small. Don't check bags.

Checking bags is a hassle -- it slows you down getting on and off of the plane and the airline can misplace your luggage, lots of airlines charge for checked bags now and someone has to carry all that stuff once you get wherever you're going. When I travel I want to be able to carry everything that I'm going to use with me, like a snail. Or a turtle. Or a flying turtle, like Gammora. This limits you to one carry on and one "small personal item". So you need to be able to fit all your gear and your clothes into a small space.


2) Buy clothes made for backpackers.

Why re-invent the wheel? Backpackers have been trying to get things small since the backpack was invented. Cotten is right out, it's bulky and it takes a long time to dry. Polyester clothes you can wash in the sink at night, hang them on a towel rack and they'll be dry in the morning. I usually bring two pairs of cargo pants, three shirts, and two pairs of travel underwear. You wash one set of everything each night and rotate between three shirts so it doesn't look like you have the worlds most limited wardrobe. Here's a link to some EMS camp cargo pants, if you're reading this in the future and the EMS link is dead, they're cargo pants made out of really thin fabric that roll up about 50% smaller than a pair of denim jeans and weigh maybe 1/3 of what jeans do. You want these.


3) Use packing cubes.

Packing cubes not only keep things organized, but they keep stuff compressed.
You can find them at places like Eastern Mountain Sports or REI. Bring an empty cube to keep your dirty clothes in.





Small Eagle Creek packing cube with a pair of pants and a shirt stuffed in.
You can make it smallllll. Clickenzee to Embiggen!



4) They don't count your clothes as a carry on.

This is the Big Secret so I'm bolding it. If you're wearing it, they don't count it. So buy yourself a Domke PhoTogs vest.

I have a messenger style camera bag and this is what I usually carry around with me. One camera, (two if you count the iPhone, and I've used it before), five lenses some batteries, storage, a first aid kit (the green thing) with pain killers, antacids, anti diarrhea meds, decongestants, emergency money (bills and change), Band Aids, allergy pills and some sleeping pills.)





This is usually my "personal item". Clickenzee to Embiggen!



Having a camera bag like this kind of screws your "personal item" that other people might use to carry around important shiznit. So, I take everything out of my camera bag and put it in the vest. Now you've got all your gear with you if you need it and you can either stuff your empty messenger bag in your other carry on and bring a larger duffle bag, or put more stuff in your carryon.

Likewise, don't put that bulky sweater in your suitcase, wear it on to the plane. If it's too warm, tie it around your waist.





Everything in the vest, now you get a whole new "personal item". Clickenzee to Embiggen!





5) You don't have to put your bag in the overhead over your seat.

There are fewer overhead bins at the back of the plane, that's where they store some of the emergency equipment and the crew's bags are usually there too. When getting on the plane scope out the overhead space on the way to your seat, if the bin is already full where you're sitting, put your bag in the next space you pass. You don't want your bag full of zillion dollar lenses to get gate checked and returned to you like a bag of broken light bulbs.


6) Get an e-reader.

Yes, I know how cool you look reading a tattered trade paperback o Tristram Shandy but books will weigh you down faster than anything else. If you need to put a sticker on the back of your iPad that says "NOT READING 50 SHADES OF GREY" but suck it up and leave the books at home. Before you got to 10,000 feet you can look at the in-flight catalog and wonder who on Earth buys that crap.



7) Pack things you can't get at your destination.

It's really easy to borrow a shirt from someone when you get to Tulsa, or to buy one at ye local store, it's more difficult to get a charger for your sony Mavica, so pack that first.


8) Pack food.

Pack portable food that will keep, like energy bars. Fruit is nice but it's destroyed too easily banging around in your luggage. Don't pack something that's going to make you thirsty, like a jar of salted peanuts.


9) Leave your core travel items in your luggage.

You know that stuff you need every time you travel? Your toothbrush, your swim suit (there will be a hot tub at the hotel if you don't pack it, plus it doubles as "lounging around" wear while you're washing your pants) your first aid kit, your business cards, and model releases -- keep all that stuff in your bag all the time. (Roswell here is sitting on the nail clippers.) This save a bunch of time while you're packing. I also leave a travel cube with underwear and socks in my bag so when it's time to go you don't need to wonder if you've packed that stuff.



Leave your core items packed. Clickenzee to Embiggen!




10) Always have enough gear on your person to get the assignment done if you lose all the rest of your stuff.

My grandfather was an electrician who always used to say "study the hazards" -- which is useful advice. When you're packing you should be thinking "what happens if..." -- What happens if you lose that suitcase? What happens if that camera stops working? What happens if your card reader dies?

I bring a backup of everything critical -- which means an extra camera, extra memory, extra batteries, so that if something stops working you don't need to worry about trying to fix it while people are tapping their toes and staring at you, you just swap it out.

On the left here is the gear that I packed for a roller derby portrait shoot in Minnesota, it's everything that I needed to get the job done awesomely. On the right is a backup kit that I could do the job with if somehow the airline lost all my gear. Bringing a backup doesn't mean a duplicate. If your main camera is a big gigantic DSLR, you don't need another one of the same model, you can pack a smaller camera. Enough to get the job done.



Bring Backups. Clickenzee to Embiggen!



So that's it. Get small stuff, pack it tight, keep it with you, don't bring things you don't need. The goal is coming back with the pictures. It's very easy to pack way more clothes than you need.








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angela_n_hunt: (Default)
See this?

One of the many awesome and secret gifts that I got from my brief adventure with [personal profile] kylecassidy was that he showed me things on his iPhone. One of them was shots of the Shadow Unit covers (you're reading Shadow Unit, AREN'T YOU???) and *this*.

Y'all know how much I adore [personal profile] matociquala aka Elizabeth Bear. This is like Reese's good. You can't go wrong with this. Two great artists. You want one of these. You possibly want three. I know I do. One to own and two to give away.

And on that note, I go to get my own.

Details below from Kyle's journal.

Originally posted by [livejournal.com profile] kylecassidy at Veronique is Visiting From Paris
Big News

Two years ago I met novelist Elizabeth Bear (aka [info]matociquala) on an escalator in Canada and said “You’re Elizabeth Bear!” – which wasn’t all that miraculous because she was wearing a name tag – but we talked on the trip from the third floor to the first floor of the Palais des congrès de Montréal about doing some sort of vague something based on the themes of Time Travel, Levitation, and Madness. We parted ways at the bottom of the stairs and during the following year I sent Elizabeth 12 photos and she wrote a story, in twelve parts, that ties them all together.

It's now available as a series of 12 post cards, each with an image on the front and a story on the back.

I'm tickled pink that [info]wilwheaton has called it "... one of the coolest, most beautiful things I've ever seen."





They start at $12 but we realize you might want to hoard one for yourself and mail others out, so there are deals for getting more than one. You can buy them and get more info here.





I would post the text from the back of this card, but it's really too brilliant and it might give too much away. I'm really in awe of Bear's ability to create a magical world from bits and parts and have it be cohesive and heartbreaking -- and 80 words at a time.

I'm really excited about this -- it's a beautiful little creature that wouldn't be here today if so many tiny things hadn't happened. Do something awesome today, even if it's small; it might grow up into something bigger.




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angela_n_hunt: (Default)

Kyle & Angela, originally uploaded by quennessa.


So, here's the shot I was able to grab of [personal profile] kylecassidy and I at the end of the shoot. As you can see, I am just goof ball happy. (He'd shown me a couple of 'em on the camera as we went, so I had an idea.)

This goes with my picture of [profile] coppervale and I. Pictures of my favorite people who I never would have met except for the Internet.

I frikken' heart the Internet so damn much.

More later. I've got a couple shots of Kyle working that are just great fun.

angela_n_hunt: (Default)
So, I'm late to the party, but the past week was hectic, but here it is:



I rarely do self-portraits. I've been forcing myself to do them, as it's making me stretch in ways that are unexpected. When it came time to create my contribution for Kyle's show (which you should know by now can be found here: http://kylecassidy.smugmug.com/Art/absurd-equipment/LeavingDakota/14749038_ZKvqm#1105379677_dcM7Q), everybody I normally would have asked to model for me?

Not available.

And I only had ten shots left on the memory card in the camera.

So I did what I always do in a situation like that. Looked at what I was wearing, looked at what was in the kitchen, grabbed a dog tag chain, one of the props from the box and went outside.

This was the result.

I actually really love it. How about that?

Here's the thing. Doing the show? I hardly have words. When Kyle {[personal profile] kylecassidy) originally asked for folks to be part of the tour, I am not exaggerating that I volunteered and bounced up and down like a cracked out monkey. My original idea had been to find a space to put it up in. But like none of my models being around, nothing was available on such short notice. Then I remembered he said it would fit on a regular size door.

And I thought of my garage.

Originally, I was going to put it literally on the garage door. But I couldn't figure out how to light it adequately. Most of my studio lighting is gone or broken and that ruled that out.

Then I remembered the canvases that my dear friends Vicky Jo and Robin gifted me around my birthday. Over a dozen of them and large and it snapped in to place. I would put them on the canvas, lean them up *inside* the garage and...voila.

So then to let people know the show was on.

And that's when I suffered the doubts that no one would come.

I couldn't have been more wrong.

It wasn't a huge night. But you know what? It was more amazing for what it was. An intimate amazing night with people that I would not have likely met any other way except through the auspices of Kyle's work. And we ate cupcakes and cheese and crackers and huddled around the patio firelogs in my bbq as the night wore on and we talked travel and art and of course, Kyle's work.

But best of all, by the end of the night, I felt I had made a whole new pile of friends.

All because of Kyle and Leaving Dakota.

So. Officially, here and now, from the bottom of my heart, Kyle Cassidy, thank you for letting me participate. I had a grand grand time. You helped prove what I have always believed. Art makes the world a better and more beautiful place. It connects us in ways that cannot be expressed in words.

Thank you so much for letting me come and play.
angela_n_hunt: (Default)


It's here...

I'd already have the pictures loaded to the gallery tour flickr group, but apparently my account is in lockdown due to all the naked people. *sigh* I've asked for a review of my account and pointed out that it's set to all restricted, hello! and could I pretty please change these ones to Safe so I can show them? Please?

Hopefully that'll happen soon.

In the meantime, you can see the unveiling of the intriguing box at my flickr directly here: http://www.flickr.com/photos/angelanhunt
angela_n_hunt: (Default)


Psst!

Date/Time:

Saturday, January 8th
7 PM to 9 PM

Location:

The Garage
12811 Pacific Avenue
Los Angeles, CA

The Show:

[livejournal.com profile] kylecassidy, photographer extraordinaire, is trying a new way of sending a show on the road and my garage is the second stop on the mysterious show's way.

What's Leaving Dakota?

Come find out!

For more of an idea of what the show is about, go here:

http://www.kylecassidy.com/

or here:

http://kylecassidy.smugmug.com/Art/absurd-equipment/LeavingDakota/14749038_ZKvqm#1105379677_dcM7Q

If you're local, please RSVP so I know how much wine and cheese to buy!
angela_n_hunt: (Default)
I am already frikken' booked, damn it, but if you are free, go, go, GO and here in La La Land, did I mention, GO?

Originally posted by [livejournal.com profile] kylecassidy at Some News
Lots of exciting things that I can't talk about right now, but some that I can:

1) I'm teaching an phonetography workshop in Los Angeles this weekend, there are still open slots. Among other photographic locations, we'll be going to Vasquez, also known as STAR TREK BATTLE ROCKS where Kirk fought the Gorn and many other exciting things happened. Drop me a line, pack your phaser.

2) A book showed up in the mail yesterday that for the life of me I couldn't remember ordering and then flipping through it, I realized that I had a photo in it. All this stuff seems so long ago. So, if you're in a photography class this semester and you're using David Prakel's very hip Fundamentals of Creative Photography I will fundamentally approve.



3) [info]trillian_stars is in a new play that's going to knock your socks off, more on that tomorrow, I can't wait.







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angela_n_hunt: (Default)
OMG, pretty much everything he says here, especially the part about the model.

And now I'm really glad I never spent my money on a beauty dish. I rely on studios with skylights and shooting at noon.

Originally posted by [livejournal.com profile] kylecassidy at FAQ
Deconstructing a photo, behind the scenes


A reader writes:

I am a very confused digital photographer.

I know how things were done with regard to film photography...but I feel very confused as I look at the photographs of today because I am just not sure if the photographers are using "old school" techniques -- or if the shots that I see are being edited post-production.

Your photograph "Heartless" for example, Did you shoot that with gel filters...? Or did you adjust lighting and color post-production? It is an amazing creation -- I just don't know how you did it! As such, I am a bit lost with moving forward. I've asked (MANY) photographers their technique -- but, trying to get anything out of photographers is like trying to pry state secrets from the lips of government officials. Many members of my own family are photographers -- and they will not divulge their techniques, at all.


I tend to use "old school techniques" because it's what I grew up using and I figure they're less likely to make your photos look dated in 20 years. As for divulging them, I've learned that an artist isn't made up of technique nor a single idea, but rather the evolution and growth of a fountain of ideas, that they flow out of you:--when Picasso gets tired of blue, he'll move on, people trying to duplicate Picasso won't because they're looking backwards and not forwards. So I'm not worried about divulging techniques so much because I realize that it's not the "how" so much as the "what". That said, pretty much anything a photographer does is stolen bits of things other photographers have done before them. You go to school (and hang out in bars with other photographers) to learn techniques, the ideas -- well, those are yours.

Behind the scenes
In any event, the Heartless Revival shot is ... pretty much straight out of the camera with very little manipulation, as you can see here:



I didn't (and typically don't) use any techniques in post-processing digital that you can't do in a "traditional" or "wet" darkroom. There's just some burning in around the edges which serves to isolate the subject and cover up some of the ... er ... crap ... on the floor and ceiling that don't add to the image. There are a couple versions of this image that have a bit of a blur added to them which is a technique I saw some photos from the vietnam war printed with years back, the idea being that when you print the image you do a short exposure that's slightly out of focus, and then a tack sharp one right on top of it so there's a bit of a diffuse glow coming out of it -- sharp and soft at the same time. It seems really popular in Japanese glamour photography. Anyway....

Taking the photo was the easy part. Making it happen started with a lot of work before hand -- beginning with Heartless Revival making the dress, and then Alex doing an hour and a half of makeup on Daphne. This is the hard stuff, really.

The actual picture takin'
I thought I wanted the image to look a bit metallic, a bit blue, on what photographers call the "cold" side of the spectrum (red being "warm") so I intentionally set my white balance incorrectly to give it a blue hue (set to "tungsten" instead of "flash" -- but I was also shooting RAW so I could change it later if I wanted). I wanted the light to be a bit sharp and I wanted it to work sort of like a spot light, with a good deal of fall-off (going from light to dark relatively quickly).

About five years ago I bought a beauty dish because I saw that Lithium Picnic had one and then when I figured out what a pain in the rear it was to use, it's sat in my closet mostly ever since, but here was an opportunity to use it. The beauty dish is a giant, unweildy piece of metal that sits with a big heavy flash head on one end of a boom stand, on the other end of the boom you have a bag filled with bricks acting as a counterweight. I like the way that the beauty dish looks when it's almost directly overhead -- it's sort of like the light you get from a UFO when it's about to beam someone up. (I deny any actual knowledge of UFO lighting. Move along, nothing to see here.) I used it in this promo shot for No Exit and it looked great. The downside is, well, your assistant has to haul around a giant bag of bricks as well as the beauty dish and the light and the giant boom stand and while they're doing that, it's difficult for them to make you a martini.

I thought you might be curious about it so I took a photo of the beauty dish as it was setup.



There were actually two people working off camera here, one holding the bag of bricks and one fluffing and primping after every few shots. But that's pretty much it -- you set up the light, you do a couple of test shots and make sure it's exposing properly, you plop your model underneath the light and your model does the thing that s/he gets paid for, which is know how to move around in ways that flatter and show off the clothes and look interesting, and you do the thing you get paid to do, which is notice when the model looks best and move your finger down about 1/16th of an inch and occasionally say things like "Oh baby, now shake it."*

Darkroom techniques
The things I use most in Photoshop are: the selection tool with feathering, levels (brightness and darkness), & saturation. And that's pretty much it. 90% of everything I do is with those things.

"Getting it right in the camera" is important, but often overrated. I was watching a photographer berate his assistant on a mini-golf course a year or so ago -- "Hey," he said "go pick up that gum wrapper, do you want me to have to clone it out of the freaking shot?" and I thought to myself "I'd just clone it out of the freaking shot."

Hope this helps. Thoughts or questions on processing? I'd love to hear them.


* (Not really. You actually say stuff like "move six inches to your left, the light stand's in the shot" and "do that again" and "once more, but look over my left shoulder this time." )







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angela_n_hunt: (Default)
[livejournal.com profile] kylecassidy says everything and I mean, EVERYTHING, I would and have ever said to anyone asking me what to do if they're a photographer or want to be a photographer. And he says it better. Go Kyle!

Originally posted by [livejournal.com profile] kylecassidy at FAQ
A Reader Writes: I want to be a photographer someday. Any advice?


Yes, lots.


Photography is a mixture of Artistic Ability and Technical Skill -- the magic of the mix isn't written in stone. The world is filled with technically proficient but artistically uninspired photographers, there seem to be a smaller number of artistically gifted but technically unsavvy artists, but they're out there as well. But the most successful people have a mixture of both -- they have an artistic vision, and they posses the technical skills to know how to make that a reality. The technical skills are the easy part, you can learn them from a book -- f-stops and shutter speeds and light modifiers, etc. The difficult thing to come up with is an idea.


0) Possibly the most important thing of all: Find creative people and make them part of your world. They don't have to be photographers. They can be writers, or musicians, or actors or puppet makers. Have a peer group of people who are doing things. They'll be your inspiration, your facilitators, your idea makers, your artistic partners. Do this for the rest of your life. Artists rarely survive in a vacuum.


1) Get a camera. It doesn't matter what kind. Eventually you'll most likely end up with a Digital SLR but in the meantime a point and shoot, your cell phone, a 1946 Brownie Box Camera, all these will work to start out.


2) Study photography -- this doesn't mean go to school for photography, but it means pay attention to photographs tear photos that you like out of magazines and keep them in a scrap book, get photography books from the library, from the bookstore, at yard sales. Learn what types of photography you like. Landscapes? People? Bands? Artificially lit? This will start to provide you with your visual vocabulary -- which will be important in figuring out what you want to photograph. Given a camera many new photographers are left baffled as to what they ought to be taking photos of. Subscribe to photography magazines, fashion magazines, travel magazines.


3) Take photos. What is it you're interested in? Enlist friends. Take trips, set up elaborate hoaxes, copy great works of art, copy not so great works of art.


4) Make a portfolio of your 12 best photos. these can be 4x6 1 hour prints. Every month try and replace at least one of these with a better photo. Do this for the rest of your life.


5) Evaluate your equipment. When you know specifically why what you have can't do what you want, it's time to think about upgrading. Do this for the rest of your life.


6) Find someone who will pay you to take photographs. It's always easier to learn on someone elses dime. It doesn't matter what the job is -- assistant to another photographer, part time local newspaper, photographing houses for a Realtor, etc.


7) Go to school. You can learn a lot more quickly this way. Things like advanced lighting techniques, gallery framing, etc. can be more quickly figured out in an environment like this.


8) Show your work. It doesn't have to be in a traditional gallery, it can be in your parents garage, or in your stairwell. Some friends and I used to have an open-air art gallery we called "Show up and Show" where we'd meet along a length of chain link fence, hang out photos up and stand around and talk to passers by.


9) Take lots of photos, throw out the bad ones, only ever show people your best. Do this for the rest of your life.


10) Stay busy. The opposite of busy is bored. Don't visit that place. Do this for the rest of your life.


Hope this helps.






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