Author Archives: Tim Porter

On the Job: Run & Shoot

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One of my great challenges in photography has been making new techniques work the first time out on the job. I haven’t always been successful at that, so if the job permits (meaning there’s enough time or the art director doesn’t have a specific shot in mind) I usually plan on a back-up shot as well, something I’m sure I can pull off.

I shot the two pictures in this post to illustrate a story in Marin Magazine on trail running here in the Bay Area. The women belong to a Luna Chix running team headed by the magazine’s web mistress.

We chose a trail on Mt. Tam called the Sun Trail because it provided some great views (I wanted the context of the geography) and was close to a road (to cut down on the gear lugging.)

My original idea was to light three of the runners along a curve in the trail (like in the shot below), but after a few test shots I realized it would be very difficult to time the runners so a strobe hit each one as she passed. Also, I was shooting from 100 feet away on a rock out-cropping and would have needed an assistant to help reposition the lights after each test shot. Since this wasn’t a Chase Jarvis-type-budget-shoot, meaning it was just me and five runners, I went for Plan B.

First I shot three of the runners going through the curve. This was my sure shot. They were great sports because it was about 90 degrees out and they ran it a half-dozen times.

Then, I set up four SB800s along an upper portion of the trail — two in front and two along the side — and had them run toward me. When the led runner crossed a line I had made in the trail she shouted to me and I shot the group with a 12mm lens. I could only get off one frame each time since the flashes were firing on full power and needed recycle time, so the team ran it about 20 times. I did several variations of this shot, including backing way off with long lens.

The final shot (above) isn’t perfect, but it worked for the magazine and I learned a lot about lighting a group of moving people outdoors. Next time, I’ll concentrate more on separating each person, targeting them with an individual light and watching their expressions more.

The magazine used the above shot in the index and the below one as the lead shot for the story.

Luna Chix

Going with the Flow

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Just a quick post on this portrait because I am jamming to finish a couple of magazine projects before I head out of town for a working vacation — to the wedding of a friend in Cartagena. Vive los novios!

The magazine wanted a picture for Father’s Day and we found Greg Snowden, the owner of a local green building materials company, and his three sons.

I met them in the store after it closed, put up a big softbox over a picnic table and threw a couple of smaller lights on the background.

The boys were rambunctious and never settled down, mugging for the camera, grabbing at each and pulling Dad into the fun. At first I tried to control them, then realizing I couldn’t I just went with the flow, hoping a make a couple of good frames.

The result is above, one of about four or five usable shots out of 75 or so. I happy with it, although it’s not what I set out to do and therein lies the lesson:

Never try to teach a pig to sing. It doesn’t work and it only P’s off the pig. In this case, the pig sang when it was good and ready.

I’ve Got a Hangup

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Some people say their love affair with photography came when they first picked up a camera. It didn’t happen that way with me. I had been idly making snapshots with my first 35mm camera — a Pentax — for months before I felt a moment of magic, and that happened not with my eye in a viewfinder, but with my hands in a tray of developer. I fell in love with the print.

The first time I saw an image form on a piece of wet photo paper I was hooked. Even though that first image only lasted seconds before it turned black (because I had overexposed it in the enlarger), that we enough.

When I shot film, I came to live for the print because the print enabled me to see the image I’d made. Later, as I switched to digital I realized I didn’t need the print to experience the excitement of the image. There it was, on the computer, large and vibrant. I still enjoyed the “darkroom” work — enhancing contrast, extending tone, shaping color — but now the darkroom was dry and digital instead of damp and chemical, so I stopped printing.

Until now.

I have a show this week of photos I made in connection with a cookbook I wrote and photographed about organic food from Marin County (Organic Marin, Recipes from Land to Table, Andrews McMeel, July 2008).

It is a small show — 13 photos (one of them is above) — and is part of a month-long arts salon put on by Marin Magazine, which I do a lot of photography for, and a local home decor showroom.

At first, I was reluctant to do the show. Digital printing is dicey, at best, these days, with quality varying from printer to printer; and framing is expensive. But with some trial and error, I found good people to do both (Alesha Rogness at Vivid Imaging in Sausalito, 415-331-8272, and Bob Woodrum at Sausalito Picture Framing) and when I saw the finished prints, 20 x 30 and framed, that old excitement returned.

I’ve learned to loved the print again.

The show is up this week at California Closets Showroom 610 Dubois St., San Rafael. The party is Thursday, May 15, from 6-9 p.m, free music, snacks and wine. C’mon by if you can.

Don’t Shoot, I’m a Shooter

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The harassment of photographers in the name of security continues, reaching the point of ridiculous in some instances and infringing on basic civil liberties in others. Here are a few recent examples of America, home of the paranoid:

* Scott Kelby writes on his blog, Photoshop Insider, how he and some fellow photographers were braced by security guards in a New York hotel for carrying tripods. (Hold it right there, fellow, and don’t unfold that thing!). In response, Rob Jones, one of Kelby’s readers, created the shirt you see at left is selling it on Cafe Press. Get one.

* The yahoos in the Shelby County, Tennessee, sheriff’s 0ffice are asking the local citizenry to call in reports of photographers taking pictures of buildings. “You may think a guy is just shooting pictures, but if you report it to us, we’ll send it on to the FBI and they may have four or five other reports of the same thing.”

* War on Photography is a blog that keeps track of these sorts of things, like the Minnesota photographer accosted by guards while shooting a refinery.

* Do your know your rights? Good. Then carry them around with you so others will know them too. Get a printable PDF of The Photographer’s Right.

* Photographer or Terrorist? That’s the headline in this BBC News Magazine story about increasing harassment of photographers in Britain. (Tip from Thomas Hawk, who’s been all over this issue.) Quote from the story:

“It’s a sad state of affairs today if an amateur photographer can’t stand in the street taking photographs.”

A sad state indeed. Keep shooting.

Children of the Canal

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About a year ago, I photographed competing immigration rallies in San Rafael. On one side of the street were advocates for the local Latino community; on the other were members and supporters of the Minutemen, a conservative anti-immigrant organization. Both groups were a rarity in Marin County, an affluent, mostly white, heavily liberal enclave just north of San Francisco.

A few weeks earlier, federal immigration agents had raided homes and businesses in the city’s Canal neighborhood, a tightly packed area of run-down apartment buildings and small homes that is home to 12,000 people, 86 percent of them immigrants from Mexico and Latin America. The agents arrested 65 people, 23 of whom were eventually deported.

The raids were part of the broader immigration debate in the country, a divide that had spawned huge marches across the country. I wanted to put something together for Marin magazine about how the issue played out in suburbs, but was hesitant for a couple of reasons. First, I was jammed with doing the book. Second, after 20 years of traditioal journalism I didn’t want to write an on-the-one-hand-but-on-the-other type story where the emotion got buried under a slag heap of official statements from either side.

After I finished the book this spring, I began talking with Tom Wilson, head of the Canal Alliance, the Canal neighborhood’s primary social service group, about different story ideas. He pointed me to an after-school program that tutors neighborhood children, teaches them other academic skills and exposes them to a world of possibilities outside the Canal. The program guarantees that if a child sticks with it, he or she will graduate from high school and enter a community college.

I told Tom I’d like to photograph the kids in the middle-school program and ask them a few questions about their dreams. Then I pitched the idea to the magazine, adding that I’d write an introductory essay — not a story — about the immigration issue. To my surprise, they loved the idea.

I made the photographs over three afternoons in a classroom. I wanted the pictures to be simple portraits, so I posed the children in the middle of the room and lit them with one umbrella and a big reflector, using the far wall for a backdrop. I spoke with each for about five minutes first, talking about their dreams, their families and their countries of origin. Most of the interviews were in English, a few were in Spanish.

Some of the children dreamed big — to be doctors or lawyers. Others wished for little more than a visit home to their family in Mexico. Some rushed forward to be photographed. Others I had to persuade through cajoling.

If you look at the photographs, you will see the faces of children, but also, in many of them, the eyes of adults who have seen more of the world, a rough world, than any 12- or 13-year-old should.

If you read the essay (below), you will learn how I feel about this children, which is that regardless of how any of us feels about immigration the children of immigrants should not pay the price. Who are we to deny them better lives — especially in the United States, a country founded on that very principle?

* Here are the photographs.

* Here is a PDF of the Marin Magazine package, including the essay.

* Or, click the jump for the essay.

Continue reading →

Choices: Mine, Yours, the Editor’s

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Samantha ParisAnyone who has worked in media knows the end product — magazine, newspaper, film — represents a series of choices and decisions made by individual creators, the team as a whole and, increasingly in films, the audience. (And, of course, web-based media like You Tube or Fark is almost wholly based on audience selection.)

How much weight your decision carries in influencing the final result is often relative. When I ran newsrooms, I had little control over what the creators — the writers and photographers — chose, but quite a bit more over the final product.

Now that I’m freelancing again, I have creative control over how I shoot something, but less to say about how the photo is going to be used or even which one from a shoot will run in , let’s say, a magazine. I have learned, though, how to shoot things differently for different clients — some like light glossy and bright colors, others prefer darker, edgier shots. I shoot to match their style, then always add in some preferences of my own.

The above picture of Samantha Paris, who runs a voice-over training school in Sausalito, provides some good examples of the choices I made in photographing her and the decisions my client, in this case Marin Magazine, made in using the photographs.

I stopped by Samantha’s studios while the writer was interviewing her, just to look the place over and meet her. As soon as I saw the recording booth, I knew I wanted to shoot her in there, but also knew I’d be pushing my technical skills because the space was so tight (about 3 feet by 5 feet) and so dark.

I wanted to use the shapes of the microphone and the pop screen as graphical elements and also have a spotlight effect to the photo. The booth had a window in front so the actor and sound engineer could see each other and I decided to use one light to shoot through that window.

At home, I blocked out a space in my living room similar to the size of the booth, and saw that I could get another light stand in the back corner of the booth and a shorty studio stand on the floor behind Samantha. I did some tests shots and felt I at least had technical control of the shot.

For the shoot itself, I used three SB800s — the one outside the window,the one in the booth corner and the one on the floor. The main and hair lights had snoots and CTO gels to warm up Samantha (not that her personality needed it) and the background light had a blue gel.)

We shot for about 30 minutes in the booth, including a sequence in which she acted out some scenes (left).

I also wanted to make some pictures of Samantha interacting with her students, so we set up some chairs in a front room with a big window and I shot about 20 or 30 frames using the natural light.

Afterwards, looking at the files, I was pleased with the shots in the recording booth (although I did underexpose by a half-stop), but I was pretty sure the magazine would use the more informal and more interactive shots with the students. I also liked the shots of in the booth more when she wasn’t acting and just looking at the camera.

I got first indication of which way the magazine’s choice would go later when my wife, a former journalist, looked at the take and loved the acting shots and those of Samantha with the students.

She was an audience focus group of one and her instinctive response mirrored the one the magazine editor made later. The image below of Samantha and her students, ran big. The “acting” shot ran smaller. My favorite (at the top of this page) didn’t make the cut.

Is there a lesson? Yes, and it’s that we shoot (or write) for many audiences — the audience of one (ourselves), the audience of many (readers, viewers) and the audience of economics (our clients). I love it when they overlap. When they don’t, I cash the check anyway.

Samantha Paris

The Hands of My Mother

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Ines LehmanThis is a story about a simple picture gone wrong and why a do-over is sometimes the right thing to do.

Every month in Marin Magazine I do a small feature called Marin Album — a photograph and a short essay. Typically, the photo is some scenic slice of Marin life, like this one of a cyclist in the Headlands or this one of a little leaguers on opening day of baseball season.

For the May issue, the magazine asked if I could make a picture for Mother’s Day of a mom and her new child. Nice, I thought, that will be sweet. Plus, it’s simple. I can use window light and skip some of the complicated setups I’d been doing recently.

One of the magazine’s writers had a baby a month ago, a boy, so I arranged a visit to her home. When she opened the door, her dog, some kind of pug, started barking and never stopped — I kid you not — for the hour I was there. It was a sign I should have heeded.

I looked around the house. Too dark to shoot in except for the living room. But the windows were behind the sofa, meaning if I put her and the baby on the couch their faces would be in shadow.

This is where the “should have”s” begin — I should have brought in some lights instead of sticking with the natural light plan. I should have asked her to change her green shirt, which reflected an icky tone on the baby’s skin. I should have taped the dog’s mouth shut.

And, when she brought out her son from his crib I should have said, “This is not going to work.” He was a cute kid, as all month-old’s are, but his skin was bright red, blotchy and pimply. a condition I later learned to be “baby acne.” Without some serious Photoshop retouching, this little boy was going to look more like pre-pubescent teen than Baby of the Month. (And, don’t forget mom’s green shirt adding to color mix.)

I should have said I’d be back in a month, but I didn’t. I shot, I used reflectors, I turned them this way and that. Two gigs later, nada.

Later, looking at the shoot in the computer, I kept thinking, “How could I blow a shot of a baby.” All I wanted was this and the best I got is what you see to the left.

I fessed up to the magazine, blamed the dog and said I needed another mom and another baby. That’s how I met 3-month-old Maya, above, and her mother, Ines. This time I told them what to where, brought in some lights and put the dog outside. Better. Much better. And at the point when I wrapped Maya in the blanket and asked Ines to hold her head I knew I had the shot I wanted.

Ines’ hands wrapped around Maya’s tiny head reminded me of what my mother used to say about her hands, how as she grew older they resembled those of her mother.

I used that thought as the key for the text below (after the jump). Continue reading →

Private Lives, Public Moments

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Holly SeelerA great privilege of doing journalism is the temporary passkey it gives me into the lives of others.

At times, this entrance is burdened with sadness or results in a stinging anger from the injustice in our society that holds so many at the bottom despite all their efforts to the rise up.

More often than not, though, I am rewarded with the pleasure of meeting someone who is charming or beautiful or enticingly smart. They allow me their company, permit me to question them in precise detail or engage me emotionally as I photograph them.

I treasure these moments, hold them in memory as long as possible and savor them for their simplicity of purpose. For me they are the essence of journalism — written and photographic — the inquiry, the interaction, the engagement.

Meeting Holly Seeler and her family — Tess, Jack and Victor — the other day in Sausalito was one of those moments. Seeler has multiple sclerosis, a degenerative disease that is attacking her ability to walk. Her response to the illness is energetic and forceful, and she has left a career as a creative director to focus on spreading the message of personal change through positive outlook and action.

I spent less than an hour with her. We made pictures. Her husband, a photographer as well, showed me his work. I met the dog, Roxie. Then I left — reluctantly. This was a good house, a good family. They gave me hour out of their lives. I added it to my collection.

See a gallery of pictures of Holly Seeler and her family.

Schwarzenegger’s CEO

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Susan KennedyAs much as I don’t like politics, I confess that I do like politicians – in person, at least. One on one, pols of various stripes are among the smartest, most engaging people I’ve met while doing journalism. They’re articulate, their words are pointed, and they share the same off-center sense of humor that is found in most newsrooms.

Susan Kennedy, Gov. Arnold Schwarzenegger’s chief of staff, belongs in that group. I photographed her in her Fairfax home for a Q&A with Marin Magazine. I have my issues with how she and the Governator are running California, but she’s someone you’d love to sit next to at dinner – intense, unflinching and intellectually persuasive. Plus, she’s twinkly.

When I got to her house the reporter was about 30 minutes into the interview. They were in a small office, big enough for her desk and two chairs. There was window on one side with a bench in it, and I immediately decided to use for a post-interview shot. The rest of the room was dark.

There was no space to set up an umbrella, so I decided to point a couple of snooted Speedlights at her, one from the long end of the office, the other from across her desk. I put one like on a stand, gelled it warm, super-clamped the other to the rim of the desk, and started shooting, squeezing my way around the reporter. (See an overview of the scene.)

About 10 frames in, the clamp popped off the desk and it and the strobe clattered to the floor. The upside was that it loosened us all up; the downside was the $100 repair bill.

I reset another strobe (didn’t you mother tell to always have a back-up?) on a stand, and began again.

I shot for about 10 minutes more, listening to them talk, working the angles. I liked the light. It was strong, but tight. Nonetheless, I was looking forward to getting her by the window for some softer light.

That wasn’t to be, though. Another five minutes and her phone rang (with the caller visible on the video-phone screen on her desk.). She was late for a meeting. By the time I stowed the gear, Kennedy was on the conference call.

The lesson of the day is one I learned early on – both as a photographer and as a reporter: As soon as you enter the room (or the event or the whatever), start working. It may be your only chance.

Tale of Two Publishers

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Ever since Dave Mitchell, the curmudgeonly, Pulitzer-winning editor of the Point Reyes Light sold the weekly newspaper in 2005 to Robert Plotkin, a Columbia J-school grad and former deputy D.A., the new publisher has been making news as much as he’s been publishing it.

The big complaint from the locals was that Plotkin was a disengaged auslander more interested in self-aggrandizement than covering the prosaic doings of local news and, more irritating, not publishing letters to the paper as freely as his predecessor.

To make matters worse, Plotkin and Mitchell had a post-sale philosophical falling out that end up in court complete with restraining orders.

In response, the unhappy former readers did what hardly anyone is doing these days – launched a new newspaper, the weekly West Marin Citizen. Its publisher is Joel Hack (above), who had run a smaller paper up the coast in Bolinas (best known for being the scene of Alfred Hitchcock’s The Birds).

The two papers look quite different. The Light reflects its ambitions for glory with a more professional design and some high-falutin’ writing by the grad school interns Plotkin entices with dreams of being the next Didion or McPhee. The Citizen is rougher, its pictures more snapshot-like and its writing, well, uneven but still informative.

I got an assignment to photograph both publishers for a local magazine, which was going to print a version of a Columbia Journalism Review story done by Jonathan Rowe, a writer from West Marin.

The two men couldn’t have been more different.

Hack invited me out to go on his weekly rounds of delivery and collection on my first phone call. Plotkin quizzed me repeatedly about the story and about my concept for the photo. “What’s your vision?” he asked. It took several more calls but he agreed to the photograph only if I did it in a location of his choice and not show any other parts of the paper’s newsroom, which he said were under reconstruction. Done.

I met Hack first and he fit the description offered by the writer: “… he looks a little like a Joel Hack.” We talked a bit and as he began pulling papers out of the trunk of his car to deliver to stores around town, I began shooting.

The light was full-on sunshine, but I made some nice images with him sitting on the edge of the trunk surrounded by papers. We walked. I shot, but the shadows were terrible. We did the post office, a grocery story and a book store. In the latter, I got some nice frames of him lit by the front window counting money. I had something we could use, but nothing with pop.

Suddenly, Hack says he’s got to go. We’ve been together about 20 minutes and I had been thinking we’d have an hour. One more shot, I tell him, something out on the street. I tell him to get an armload of papers. Then I grab a light stand and an SB800, put a Pocket Wizard on it and have him stand across from local landmark bar with the sun to his back. I shoot 10 or 12 frames and we’re done. That’s the shot the magazine used (1/250, F10, ISO 100).


Plotkin’s office is down the street, so I pack of up bag of lights and stands. At the paper, he leads me up a steep set of stairs to an attic office with angled ceilings so low there’s no room to raise and umbrella. There is a skylight, but the light in the room is dim and without a strobe I’d have to shoot at 1/30 wide open. I set up a couple of SB800s, one flagged, the other snooted on either side of him and start bouncing the light off things – a wall, a refector, etc.

To complicate things, Plotkin has constructed a “set” he wants to be photographed in front of, an artfully arranged group of artifacts and posters that I suppose he believes conveys who he is. He’s got a good eye, though and I like the way it looks. But after 15 minutes of shooting from various angles (and even squeezing an umbrella in very low), I still can’t get the framing and the light to work together, so I move him around and remove some of the stuff.

I turn off one of the lights, come in tight and tell him to hold still (and tell me not to shake). Then I made the shot (1/60, 5.6 ISO 400). The flash is not doing much more than adding some highlight and warmth to his face.

In the end, I’m pleased with the results. I’m learning to make good shots more quickly, a continual challenge for most of my assignments, for many of which I have no more than 15 or 20 minutes.

Smile — don’t!

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David Hobby, the Baltimore Sun shooter turned lighting (and Mountain Dew) guru points to Time Magazine’s cover of Elliot Spitzer by celeb bio-photographer Platon as an example of how to add interest to mugshots. Says David:

“Generally, you do not get much time when shooting celebrities and other famous people. So you have to spend your ammo wisely. You want to get a photo that connects with the viewer, but you don’t have to hold the button down and dupe that look continuously for the whole three minutes you have them captive in front of you. Do you really need that 37th version of a canned smile with eye contact”

If I’m doing a headshot and my natural charisma is not pulling out the expression I want, I’ll use a trick I learned during my early newspapering days in Berkeley from a reporter named Bob Kroll.

After Bob had asked a question during an interview and the subject had answered he would wait, letting silence fill the air until the subject became uncomfortable enough to start talking again. The best stuff, the best quotes always came after the pause. The first response was canned, the second real.

Patience can be the key to a good photo — even when you’re in a hurry.

ALSO: For a great editorial use (and well-placed caption) of a photo shot before a news story broke, see this Elliot Spitzer cover by New York Magazine.

The Second Draft of First Draft

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Welcome to Second Draft.

The last time you heard from me I was still blogging over at First Draft and had just finished a book on newsroom management and strategic learning. That was a year ago.

At the time, the newspaper industry was in the tank, newsrooms were laying off and I was finishing a transition from a manager of institutional journalism to a doer of personal journalism (and other creative endeavors). Just as the news industry was undergoing reinvention, so was I.

Today, the newspaper industry is still in the tank, newsrooms are still laying off and I’ve returned to the humbler roots I planted when I left college. My business card now reads, simply, Tim Porter, Photographer & Writer.

The switch was not the leap you might think it was. My first job in journalism was as a photographer, first for the now defunct UPI in San Francisco and next for a small newspaper. I began reporting so I could better sell my photo stories to the paper’s skeptical city editor. Then, a few years later, ambition got the best of me and I jumped into management.

I blogged about newspaper journalism, management and innovation for nearly four years at First Draft, a process a pretty smart professor once called my re-education — “Tim Porter started journalism school the day he left the newsroom.”

He was right — and some day I may tease out the steps of that learning in a longer piece. But not here. Second Draft will be more personal, more about my freelance life in both photography and writing. If that sounds too narrow to you, thanks for dropping by. But I can promise you my world of creativity, media, technology and, at times, journalism is much larger than it ever was.

I’ve moved into a post-institutional media world that in some ways resembles my early days as a freelancer while in college (the lack of guaranteed pay, for example), but I’ve arrived with a lifetime of skill and, more importantly, the ability to learn new ones when necessary or desired. I’ve learned how to learn — and am quite good at it.

Many of the new tricks this old dog has acquired are applicable to those just starting out in journalism — adaptability, resiliency, just-in-time learning — and in those you may find some value.

I will write a lot about photography, my first love and my first newsroom paycheck. I do a lot of magazine and commercial work (here’s my portfolio) and find that the tools of personal connection that served me well as a reporter and manager are just as handy in the studio or on location.

I will write about reporting, too, because I can’t stop wanting to tell stories even though writing is an anxiety frought experience for me. (I like to quip that I like having written).

I will write about technology because it is the tool we all use in the digital age.

And, I will write about journalism because I still believe it’s important and perhaps more than ever in a world where our most systemic, intractable social ills fight for scant attention among a populace intoxicated by media intended to mesmerize but not illuminate.

Stay tuned.