Where Were You In '62

The music is what I remember most, lively songs filled with story telling lyrics about the emotions of young
teenage love. It was music that defined an era, an era when the hot rod came of age along with a generation of searching youth. I was just ten years old, but I do remember the times, the songs, the look, the feel of the day. It was a time when I first began to notice the power and boldness of the muscle cars and can remember the distinctive styling family cars possessed back then.

In 1962...I was there filled with fascination and wonder of what life was like back in the day when cruising the main drag with the AM radio blaring away was the boss thing to do. Gasoline prices hovered around 30 cents a gallon back then and a person could cruise all night on a couple dollars of gas. Even today every time I hear the music again, the melodies of those magical songs cast a spell across my memories.

It was a time when one of the greatest high school basketball teams I've ever witnessed played their games to a rousing crowd. The Eagles of Hobbs, New Mexico where my dad was a journalism teacher and yearbook sponsor. I was able to attend most of the home games because he would be there taking pictures of the games for the school. That first year if memory serves me right, the Eagles averaged over 100 points a game...and this was long before the shot clock and three point shot became the norm. Man they were good...full court press the whole game and often scored 20+ points before the other team made their first basket. They were coached by the legendary Ralph Tasker, one of the winningest high school coaches of all time. It was great fun and created wonderful memories...back then in 1962.

Down the street from our small but comfortable home a young married couple pulled into their driveway one day with a brand new classic black 1963, split window Corvette. Within 5 minutes we were all down there hovering over it. It was my first taste of what owning a muscle car could mean. From that moment on I relished the thought of cruising the main drag and could not wait until I could drive.

Oddly enough, a few short years later, that is exactly what I and most of the high school kids did on Friday nights after the football game. It was another town in another state, Okmulgee, Oklahoma, but on Friday nights the main drag turned into cruise city and during the cool of the summer nights cars of all shapes and sizes could be seen cruising Wood Drive along with the inevitable drag race between stop lights.

 In 1974 when the classic movie American Graffiti came out, I was surprised at just how much it resembled our Friday nights. In our fair city you could find one of the best technical schools in the country, the technical branch of Oklahoma State University where future auto mechanics were taught their trade. Because of that it wasn't unusual to see jacked up hot rods cruise the streets, some as classic as the American Graffiti cars.

The decade between 1962 and 1972 saw America change. Those of us who lived through that decade remember well the sometimes tumultuous and often revealing shift in society. Even so, we can also remember with fondness the classic cars, the lights, the music, the sounds, the flavor of the times. Wherever I was in 1962 remains locked into my memories with great affection. When a classic tune triggers a certain memory, when a classic car jump starts the old rumblings to cruise the main drag, when I stop just long enough from my often dull routine to remember those times, well those are memories well worth hanging on to and well worth recalling. 

The "Color Effect" - Using Color to Affect The Photographic Mood

Color plays an important role in the mood of a photograph. Deliberate uses of the color spectrum can heighten the specific effect you are wanting to portray, but sometimes by default, how you use color will generate a variety of moods. Lets take a look at three basic colors, Red, Blue, and Green, and see how they affect the mood of a photograph.

Red along with its variations of orange and yellow, denotes passion and aggressiveness, or playful and energetic, and sometimes happy and friendly. When used in a photograph red variations can be used to bring attention to a specific area, or shake up the composition. Red variation in an image can bring life to what might otherwise be an ordinary composition.

Blue, on the other hand, denotes trust and serenity, along with a calmness not always found in other colors. Depending on if you use a light blue or a darker shade, blue can bring a refreshing energetic element and liveliness to an image. Using a blue gel on a speedlight setup in the corner of a room can cast a cheery flavor across the room when used as a subtle accent.

Green then denotes stability and a natural state. One feels comfortable and at home with shades of green and it acts like a counter balance to bolder colors that may be found in the composition. It softens the impact of the image.

In the photograph of the National Corvette Museum full moon image above there are two basic colors with an orange shade of red along with blue as the primary colors. The contrast between the two bring an element of power and purpose to the image with the power of the reddish light bringing attention to the Sky Dome and the blue of the sky bringing a calm serenity to the image. Although they are different colors, the vibration they create seems to work well here.

This next image uses a combination of light blues and greens along with some yellow and orange accents. The prevailing green color provides a level of serenity to the scene where the contrasts of yellow and orange brings a powerful message that comes with the change of seasons. Yellow is simply an interim color between red and green and so it blends the two traits into a mood where the viewer senses not only the subtle calmness of the location but the more aggressive strength of the moment. The viewer at once wants to both be there and also feels at home at the same time.

Even indoors when using artificial light, color becomes an important consideration creating a photograph with impact. The picture of the young lady in the flowered light blue dress used a mix of artificial lighting to achieve some of the same effects we've discussed so far. Along with a front facing softbox to illuminate the model, a single speedlight with a blue gel attached was fired from the corner on the right to throw a subtle blue cast across the scene. Primarily it was used to bring a cheeriness to the room by filling the room with a pale blue tint that reflected off the many shiny surfaces and to help accent the blue dress. It also provided a trusting calmness to the scene. In the background another speedlight with a reddish orange gel was fired into a dark corner to bring life and attention to the depth of the room. It also served to contrast with the blue to warm up the mood with a more aggressive flavor.

The last image is from the banner page of this blog site. It contains a powerful aggressive message designed to capture the attention of visitors to the site. The bold reds, oranges, and yellows overpower the image to such a degree one hardly notices the more subtle bluish gray horizon line and the subtle green hue of the field of coneflowers. It does exactly what it was intended to do; generate an emotional response in the viewer to such a degree they want to see more. One can feel the movement in this image almost as though this image might be a single frame from a powerful introductory video.

Lighting, regardless if natural light or artificial light, is not necessarily always something that must be precisely measured. In many cases if not most of them, catching the light just right is instinctive and intuitive at the same time. It also requires some experimentation. I go by the adage of it's right when it looks right and I don't always over work the process, don't always rely on the histogram or the exposure meter. The in-camera metering is simply a tool I use to get a ball park beginning exposure setting. From there I compensate the exposure up or down and adjust the lighting until I get the desired look. When it looks right...I know it...and sometimes right doesn't always mesh with what the book says it should be.

Color then can be used to bring a specific kind of life to your images. By watching for and using the colors of found in nature, then enhancing them through exposure and composition, one can generate visual moods to such a degree, the viewer may not even realize they are being inspired by what they see. Photography is all about light for a great many reasons, not the least of which is because the colors of light are what generate the mood of your photograph. You should always desire more from your camera than a simple xerox copy image of what you see. Understanding and knowing how to capture and use those colors effectively is key to creating images with a powerful impact.

Filling in The Blanks with Accent Lights - Lighting a Classic Location

The Corvette Cafe is a classic setting with a nostalgic look and feel to it. When given an opportunity for a model shoot in such a location figuring out how to light it is vital to obtaining the desired results. When combined with a time limit of 30 minutes to complete the shoot, well one must work quickly and effectively to be able to identify those key areas that need a bit more light, a sort of filling in the blanks approach.

The key to good accent lighting is to make it appear natural. What you do not want is to make your lighting look like a bunch of harsh flash cubes have gone off. So, let's take a look at how the lighting on this photograph was setup.

First of all the natural light streaming into and across the room looked pretty good to the eye, but taking a quick photo using the natural ambient light revealed just how dark it really was, especially back in the corners and behind the counter. Way too many shadows and bright spots scattered here and there that made a natural light photo look flat and empty. The room required some help to lift the light where it look natural and exciting. To make it work, I had to strategically place 4 speedlights around the room to provide colorful accents.

The main light was fitted to a 20 x 30 softbox and was situated so it would cast a natural looking light across the front of the model. I set the speedlight to a wide area setting and powered it up to around 1/2 power. This helped to enhance the natural light filtering in from the large windows by the entrance and gave a look to the room where it appeared a strong outside source of light was filtering through.

The main counter possessed a wonderful shiny brushed chrome patina which included the bar stool chairs. There was also a good splattering of red painted walls and the bar stool padding was also colored red which added an exciting vintage look to  the scene. In the far back corner was a recessed booth with a single soft incandescent light hanging from the ceiling. This area proved to be rather dark, so I added a speedlight angled upward to fill in that dark area. A reddish gel was added to provide a splash of color in the background and to help tie in with the red seats and painted walls and to provide a bit of color vibration.

Cafe Shoot Lighting Layout

In order to highlight the chrome and shiny surface of the counter I placed another speedlight to the right and attached a blue gel which cast a wonderfully cheerful bluish tint across the room. This bluish tint was caught and reflected by the chrome and also complimented the models dress which caught a hint of blue across the back edge providing a subtle separation from the background. Her white lacy hat also caught some of that blue light which helped it to contrast and stand out as an interesting compositional element.

The room seemd to vibrate more with the hint of blue light as compared with a more normal white daylight. A fourth ungelled light was placed well off camera to the right and simply angled straight up to fire against the ceiling and add a bit more ambient light across the room. All of these accent lights were powered down to between 1/16th and 1/4 power to provide just a enough light to do the job. Some experimentation was required to find the right combination for each light.

The exciting checkered flag floor added a wonderful balance to the scene and reflected bits and pieces of all the lighting. The area behind the counter remained a bit dark, but all the shiny surfaces caught and reflected enough of the extra light to fill it in enough to allow it to become more visable.

Compositionally, the angle of the shot was critical and the high angle used was simply a spur of the moment attempt to try a different look...to take the image farther down the compositional path. The checkerboard floor and wide angle lens skewed the look just enough to make it appear like leading lines directing the eye into and across the image. In reality, the checkerboard floor is what made the shot, yet it does so naturally and without overpowering the image. It simply looks like it belongs which is what it should do.

So, lighting a scene like this one requires the ability to see the corners, recognize the potential of what is there, and then enhance the natural flavor just enough to give the composition a powerful yet subtle appearance by filling in the blanks with effective accent lights.