The Concept Photo Shoot

Joe McNally, Joe Brady, Gavin Hoey are just a few of the pro level photographers who have positively influenced my photography in many ways. Not only are they inspirational in how they create amazing portraits, they are able to breakdown the photo process into simple to understand ways that instructs aspiring photographers on how to achieve a higher level of skill sets. One thing I noticed early on while watching their videos is their tendency to work toward creating a specific look. They start with an idea, a concept, and setup their shoot to capture that idea photographically. You can call their process many things, but I call it The Concept Photo Shoot.

The Concept Photo Shoot is pretty much exactly how it sounds. You begin with an idea or a vision of what you want to capture, then you work toward building the image, and then capturing it. The idea you start with can vary a great deal ranging from just a vague understanding of where you want to go, to a very specific concept and look you are wanting to create. Getting to the final image may require the taking of a good number of shots before you achieve success, but the idea is to build the shot one step at a time. It is unlike the random nature of a location shoot where you purposely take a large number of photos to come up with a final collection of images you provide to your client or model. Instead, you stay focused on one idea, one photo that captures the image you are trying to create.

The concept photo forces you the photographer to concentrate your efforts. It also encourages you to look at the photographic process from a more creative aspect. Posing someone next to a tree or fence and taking their picture is not a concept photo. The concept photo requires more from the photographer. It requires you think through what you are wanting to accomplish. Things like what angles to shoot, what kind of and how much lighting is required, what the background is going to be, how you want your model to look, the style of clothing, the time of day, exposure values, will it require a single shot or the blending of multi-shots, color or black and white, landscape or portrait format, how the weather will affect the look, sunset or foggy, bright or dark and ominous, have other photographers done similar things. These are just some of the things you have to evaluate before you create a concept photo.

I've used this photo several times as an example mainly because it is a good example of what I am writing about. The concept here was to capture a pilot and his airplane in a unique way. How this photo shoot developed followed many of the requirements listed above. First I started with an idea; Photograph a pilot and his airplane. Then I did some research and studied how other photographers had made similar images. It turned out not many examples existed, so I had to think through this to come up with a creative idea. At first I had no definate look I was locked into, just an idea or possibilites of how it might look. Those ideas evolved over time as I actually diagrammed on paper the image idea I wanted. By diagramming the look I wanted, I could identify the kind of and the placement of the required lighting. This helped me to focus in on things like the time of day, how many photos would be required to complete the image, the kind of weather I would need, the style of clothing and other shooting requirements. I also did some test shots because I knew the image I wanted would require three or four separately lit shots blended together. These test shots allowed to perfect the Photoshop technique that would be used to blend the images.

Even after all of this preparation, I still did not have a pilot or airplane, however as luck would have it another photographer friend of mine ran across a young pilot who had a small grass airfield and hanger with a couple of airplanes inside who would be willing to help me out. After several conversations, weather delays, and other unforeseen difficulties, we managed to meet up on an almost perfect setting for the shoot. Even so, my original concept idea had to be altered slightly upon arrival simply because the setting layout dictated a change, but it worked out rather well  regardless.

Another example I've used a few times is this shot of a 1976 Corvette in front of the National Corvette Museum. The idea started several months prior to capturing this image when a couple of photo friends of mine invited me to join them during a Super Moon photo shoot at the museum. After capturing several dramatically lit images I realized how by placing a Corvette in the forground might create a wonderful image. So I contacted the owner of the 1976 Corvette and setup a time for the shoot. 

The shoot started with an idea and evolved over time as details became more defined. During the shoot, we had to make several lighting adjustments and try a few different angles before we locked onto this composition. The trick with this image was that we had a very narrow window in which to shoot because the shot required the sky to have some color in it thus dictating we work just after dusk. We had to work quickly and make ajustments on the fly before we lost the ambient color in the sky. It turned out to be a wonderful example of how the concept photo can be put into play.

Individual portraits also lend themselves well to the concept photo shoot. At the top of the post is a concept portrait focused on a vintage look. The setting was the National Corvette Museum Cafe and our model was dressed in a 50's early 60's style. When shooting indoors like this, all of the same lighting considerations come into play. In this particular image the far corner of the cafe was rather dark but by placing a speedlight in that area and adding a warm gel to it, a wonderful splash of color helped to liven up that dark space. Angles are also important and became key elements in this shoot. The image at the top of the page was shot from a low angle and the one shown here was shot from a higher up angle. Both have pleaseing merits to them, but provide a different persepctive to the same idea. The low angle shot opens up the room more while the high angle shot employs a more graphic nature by using the checkerboard floor to great advantage. Regardless, all the concept shoot principles remain the same.

Here's one of my son Christopher. For this image I was going for one specific look and the lighting was critical. First of all this image was taken outdoors near dusk when there was still a good amount of ambient light filling in the background. Using an exposure technique that killed ambient light created a studio-like black background. Then, by applying speedlights and strip lights to illuminate my subject, a dramatic and rather cool looking portrait became possible. Again, I had a specific look in mind and worked the shoot toward that end. A good number of shots were made, but when it all came together, I knew I had accomplished what I set out to do.

I've always said one of the worst things a photographer can do is to always do the same ole thing the same ole way. Building a concept photo is an exciting and fun way to jump start your photography out of its doldrums.

The Holmes Rescue - January 20, 1974

Gone are the U.S. Coast Guard adventures of my youth, but not the memories. They live deep within me as real and dramatic as the days of action when they occurred. Before living out those adventures I naively carried fanciful ideas of what it might be like to become a part of this noble service. Oddly enough, those fanciful ideas fell well short of the actual adventures that played out during my time at the Umpqua River Lifeboat Station.

Located in a picturesque harbor community with the unlikely name of Winchester Bay, this seemingly insignificant Oregon coastal town became perhaps the most significant influence of my young adult life. It was here life-maturing adventures, some routine, some filled with deadly drama, unfolded around me. January 20, 1974, barely two months after my arrival, one of the most dramatic events to challenge our small crew exploded into life. It was an event that helped to define who we were as Wave Warriors. It was an event that very nearly cost the lives of three men and one that brought into focus just how quickly events could turn from routine, to life threatening.

I hovered between being alert and drifting off, hanging on as best as I could to what was happening around me as I struggled in a sleep deprived state. Having been awake since before 3:30 am, I struggled to remain awake on this dreary and rainy, but otherwise uneventful morning. My lookout tower watch relief arrived at 8:00 am snapping me back into a more awake mode. A few moments later my crew mate stepped through the back door and shook his arms and shoulders to release some of the accumulated rain from his coat.

"Nasty cold this morning." He murmured half aloud as he removed his olive green field jacket.

"Not much happening...looks like four trawlers several miles north of the bar working their way south. Probably the Midnight Sun, and maybe the Harmony...can't tell who the other two are. The bar is starting to close up, looks like ten to twelve foot breakers forming along the north spit, but the channel is still open." I said with a yawn.

He raised a pair of binoculars from the table and swung them toward the north. "Yeah, I see them. By the way, we need to swap out the small craft advisory flag to Gale warnings," he said as he handed me a Group Office weather notification. "Weather report says a big blow is coming this way. Probably end up running a storm warning flag up later today."

I reached into the bottom desk drawer and extracted another deep red, long, triangle flag. Its musty, damp aroma at once filled the room as it partially unrolled as I held it. Its tattered, pointed end touched the floor. A single triangle flag, which was already flying, indicated a small craft wind advisory, two flying in tandem was a Gale warning.

"I'll run this up on my way out."

The wind was already much stiffer and colder and bit into my face like stinging nettles. My eyes watered as I struggled to attach the new flag to the lanyard with numb, wet hands, but, I eventually secured it and ran the tandem signals to the top of the mast where they popped and snapped in a fast paced, wind stiffened dance. I stood for a moment and surveyed the scene stretched out in front of and below me. From my vantage point high on the ridge, for as far as I could see north or south the Oregon coast sand dunes rolled along the edge of the continent until they faded into the mist. Long rows of white breakers outlined the terminal edge and the ocean, accented in a sickly grey embrace spit and slapped with white caps churned by the northerly tempest. Although still rather inexperienced I sensed something ominous was in the air, I could feel it.

I tossed a quick wave toward the lookout building and climbed into my car. A few minutes later I was enjoying a breakfast of fresh eggs and toast back at the station before I had to turn to. Morning quarters was already over and everyone was starting their work assignments. Just coming off the morning watch, I could linger a bit longer eating my breakfast before joining them. The day seemed rather ordinary.

About mid-morning, Chief Whalen, our commanding officer, used the intercom.

"BM1 Bauer, Seaman Brazy, and EN McKean report to the outer office."

I just happened to be wandering through that area when the announcement came. Within a minute all three of them were standing inside the communications room. BM1 Wayne Bauer, who was a twelve year veteran and one of the best boat coxswains in the entire group Coos Bay, was talking to Chief Whalen. I stopped momentarily in the doorway to see what was going on.

Chief Whalen, using his deep voice and deeper scowl, told Wayne, "That storm is closing in pretty fast and it looks like the bar is turning ugly. Tower watch indicates 12 to 15 foot breakers across the entire bar, we can expect 20 footers when things get to blowing. Those trawlers out there are wanting to get inside before this storm really kicks off, but with the bar like it is, they are requesting we provide a stand-by escort inside the bar as they come across."

Wayne, without hesitation, motioned to Dan McKean to light off the 44331, one of our 44 foot motor lifeboats. He quickly trotted out of the room and across the connecting gangplank to the boathouse. A moment later the staccato rumble of the 331's powerful Cummins diesel engines came to life.

Wayne and Ed Brazy started to leave the office when a new friend of mine, David Mobley stepped into the room. David was new to the station and needed some experience on Bar Patrols. Wayne, always ready to give younger less experienced personnel some training time, motioned his arm toward David.

"Mobes...come on, you're with us on this one." The normal crew for a 44 was three, but sometimes four was used depending on the circumstances.

Chief Whalen waved me over. "As soon as the 331 one gets on station, grab a couple guys and take the station truck down to the first parking area. Take a radio and standby on the back of the jetty just in case we might need someone down there on the beach."

I grabbed a couple other crewman and asked them if they wanted to be part of the shore crew. "Hell yeah." they said in unison. "Okay, then, we shove off in maybe ten or fifteen minutes."

I grabbed a portable transceiver from its recharging station in the comm room and turned it on switching the frequency to monitor the ship to shore frequency used by the 331 to communicate with the station and the trawlers. Within a minute the 331 idled out of the boathouse. Once they were clear Wayne transmitted, "Station Umpqua River...331 underway," and he pressed the throttles forward. The 331 was a magnificent surf boat and she responded accordingly by digging her flanks deeper into the channel as she rounded the exist channel into the river.

A few moments later, "Station Umpqua River, Midnight Sun here...come back, Over."

The com-watch lifted the microphone and replied, "Ah roger Midnight Sun...Station Umpqua River."

"Yeah, looks like the bar is closed up. It's getting a bit rough out here and things will most likely get rougher trying to cross over. We have four vessels out here and we all want to get inside the bar while we still can. What's the status on the escort?"

Before the Com-watch could reply, Wayne from the 331 answered. "Midnight Sun, this is CG44331. We're underway at this time and will be on location in approximately ten minutes. We'll standby inside the main channel. Just let us know when you're ready to cross over."

A minute or two later myself and two other crewmen were speeding over to the jetty. We arrived just about the same time as the 331 arrived on station just inside the bar. We trudged across the sand dunes fighting the wind and the cold spitting rain to eventually stand atop the back end of the jetty. The large black rocks extended nearly a quarter mile out from the beach, but from our vantage point we could barely see the end of it in the wind generated mist blowing off the ocean.

"Midnight Sun...this is the 331. We're standing by about 75 yards inside the bar. The tower says the channel lays down for a minute or two after four or five breaker series. If you time it right you should make it across on those lay downs without any problems."

"331...Midnight Sun here. Yeah, we've been watching it. Standby. We're making our run after the next series."

One by one over the next thirty minutes or so each of the larger trawlers waited their turn to run across. The skippers of those trawlers were highly experienced and capable operators and knew what they were doing. As they crossed over and passed by the 331, they all gave a wave of thanks. The last trawler to come across was the Holmes, a small double-end trawler, about thirty feet long, with a crew of three on board; two older adults and a young teenage boy. By this time the breakers across the bar were beginning to grow in size and power. More importantly, they became less predicable.

The Holmes sat outside the bar waiting for the anticipated lay down and when the timing seemed right, she started her run. She was much smaller than and not nearly as fast as the other vessels and being heavy laden, could not accelerate very well. As she approached the most critical point in the crossing, a large swell rose up behind and overtook her causing the vessel to begin to broach to one side as the rear end started moving faster than the front end. The skipper skillfully compensated by throttling back allowing the swell to pass underneath them and the Holmes rolled softly into the trough behind the swell. As he worked the throttles forward again trying to ride the swell across the bar, a large breaker rose up and began to bear down on them. It all happened so quickly, there was nothing the skipper could do to avoid the collision, and the breaker, approximately 15 feet in height, crested over their stern and exploded with tons of force onto the deck.

The force of the collison caused her to broach to her port side and she almost rolled, but righted herself, however, tons of water flooded into the engine room causing the engine to stall. They lost all steering and power as the bar began to renew its strength and a new and deadly series of breakers began to crash down on them. The force of the northwesterly swells shoved them toward the south side of the jetty. Her screws and rudder were mangled as the vessel was lifted and slammed onto some of the submerged rocks that extended out from the end of the jetty. She spun out of control, rolling from side to side with her gunwales catching water with each roll. More water poured into her hull and she sank lower.

Wayne and his crew jumped into action and he threw the throttles of the 331 into gear causing the motor lifeboat to lunge forward toward the breaker line. I, and the other two shore crewman, started running down the jetty. It was long and difficult task as we had to leap from boulder to boulder, often slipping and falling on the wet surfaces. There really wasn't much we could do, but we needed to be as close to the action as we could just in case someone went into the water.

"Keep an eye them!" Wayne shouted as he approached the first breaker line. Within seconds the bow of the 331 rose across the face of a breaker and exploded into the air momentarily hanging suspended between sky and ocean. A second later the bow arched over and plunged into the trough sending a giant spray of foaming water to both sides. A second and third time the 331 powered its way through the layers of breakers. Wayne worked the wheel right then left, throttled back then applied full power to maneuver the 331 through a traitorous series of breakers. Finally, they broke free of the line. The Holmes by this time had drifted well to the south side of the jetty hovering ever closer to the dooming rocks. She was tossed like a twig, helpless and alone. Wayne and his crew, then had to circle back through the breakers to approach the Holmes. They reentered the break line using the throttles and rudder to ride over and across the breakers. More than once a breaker exploded over the stern shoving them onto a 90 degree roll nearly tipping them all the way over. The 44's were designed to take a 360 degree roll and keep going, but the idea was to avoid such a thing. Wayne performed brilliantly as he maintained control of the 44.

"We'll never get a line on her to tow her out, we'll have to get the crew off when I pull along side. One or two chances at best before she goes up on the rocks. Standby...stand ready...here we go."

Wayne powered the 331 across another break line toward the Holmes, riding high, then low, spinning the wheel and working the throttles to keep her under control. A few yards from the floundering vessel, he spun the bow and fishtailed the stern and starboard side of the 331 into the side of the Holmes exchanging paint for position. His crew standing in the lower well and along the side of the 331 shouted frantically motioning for the three men to abandon their vessel and jump over to the 331. The two adults made a quick decision to do so, and managed to leap across falling prostrate into the lower well deck where David helped secure them. The teenage boy started to follow them then panicked and hesitated.

Ed Brazy who was standing on the footing that ran along the rear compartment, held onto a handrail with one hand and waved for the teenager to come on with the other. By this time I was standing on the jetty directly across and above from where all the action was taking place and I watched in fascination as this dramatic event unfolded. My vantage point was probably no more than 50 feet from the Holmes. Large breakers were exploding all around us leaping into the air to throw white foaming spray into our faces, rolling up and along the jetty, slamming into the Holmes causing her to roll and sway dangerously port to starboard almost capsizing her as she took on more and more water.

I heard Wayne shout above the roar of the surf, "Breaker!" and he was forced to pull away from the Holmes. At the same time Ed managed to get the teenager to let go of his panicked grip and move toward him. When he saw that Wayne was going to pull away, he grabbed the kid with his free arm hauling him across the narrow gap between the boats and slammed him against the rear compartment pinning him down. Wayne pulled away just as another 15 maybe even 20 foot breaker slammed into them. The 331 was rocked by its power, rolled heavily to starboard, but she did what she was designed to do and plowed through the breaker. Wayne, then knowing that all three of the Holmes crew were now aboard, again forced the 331 back through the breakers and out to clear water.

Within a few seconds after Wayne pulled away, a giant swell lifted the Holmes and slammed her onto the rocks. Her wooden hull splintered and cracked with a sickening agony, and just as quickly, she melted into the surf a few yards from where I stood.

I hung there staring at the debris that continued to float near the jetty, awestruck by the dramatic events that played out in front of me. It all seemed to play out like the fog of battle. For the next thirty minutes I watched as the 331 circled around the jetty far enough out from the breaker line to avoid any trouble waiting for the main channel to lay down, then he shot the 331 across and headed in. All of us were exhausted.

As I made my way back toward the truck I contemplated what had just happened. These three men would have died that day had it not been for the skill and bravery of the crew on the CG44331. My roll in all of this was minimal, yet somehow I understood that by simply witnessing this event I had been changed. For the first time I realized that my service here at the Umpqua River Station had a deeper meaning and I was a part of something much larger than what I expected. I knew I must always be ready in the face of uncertainty and danger.

Wayne and his crew received commendations for their efforts rescuing the crew of the Holmes. The memory of this event became a part of my history, a part of who I was, and who I was to become.

25 Easy Photo Tips That Can Make a Big Difference

Your digital camera is an amazing tool. However, there are no magic buttons on your camera that will suddenly turn it into an amazing picture making machine, no more so than all those fancy cooking utensils in your kitchen will by themselves create amazing meals. Both require the operator to impart a measure of skill to take advantage of the capabilities of those tools. To create great meals you must understand the basic principles of cooking. To create great photographs, you must understand the basic principles of photography. Here is a list of 25 simple to do tips that can help you take advantage of the capabilities of your camera.

1. When taking pictures of people, or just about anything, fill the frame with the subject image. This makes for a much more interesting composition as it allows the viewer to see more details of the subject.

2. When taking pictures of children, drop down to their eye level, and while you are at it, focus on their eyes. Always shooting from your own adult eye level will often distort how the children appear if you point the camera down.

3. When taking pictures of people pay attention to the background. You do not want a pole sticking out of your subjects head. Keep the background simple if possible and avoid distracting background artifacts that do not compliment your composition.

4. When taking scenic landscape shots, try to include something in the foreground like a clump of wild flowers, or a fence row, or a person. This will improve your overall composition. Also, shoot using a small aperture like f/11 or f/16 and focus some where roughly midway between in front of you and the far horizon.

5. When taking pictures of people, and the background is bright, use a little fill flash on your subject to bring out their features. A bright background will fool the camera exposure and cause your subject to be too dark.

6. When shooting landscapes remember to avoid placing the horizon line across the center of the image. Typically this is a less pleasing composition as it forces the viewer to wonder what the main subject is...The sky or the ground. Sometimes the sky is the most important element, as in a sunset, so drop the horizon low down on the frame. Sometimes the landscape is the most important, so raise the horizon higher on the frame.

7. Rotate your camera. Don't always shoot horizontally. Sometimes a vertical look can be the better composition.

8. Shoot candid photo's of children instead of posed pictures. Children rarely ever pose very well and usually look stiff and forced.

9. Give children something to do...to focus on...then take photos of them while they are distracted.

10. There is one button on your camera that can transform your images. It is called the Exposure Compensation +/- button. What it does is to allow you to tell the camera to shoot an image lighter or darker than it wants to. Learn how to use it...then use it often. It is a very powerful tool found on your camera.

11. Spend some time learning about the relationships between aperture, shutter, f/stop, and ISO. These are the ingredients used for every photograph you take. Simple manipulations of these ingredients can drastically alter the look of you images.

12. Do not always shoot in a Program Mode. Program modes include full auto, shutter priority, and aperture priority. These can be a useful place to start, however they will rarely give you a creative edge if you simply allow the camera to do what it wants to do.

13. Remember that there is no such thing as a Correct Exposure. There are only Starting Exposure Values. You the photographer must learn how and why your camera does what it does, then learn how to compensate for its decisions. (see #10)

14. Creative photography begins with experimentation. Don't always assume your camera will give you the so called correct exposure. Correct Exposure is relative to what you are trying to accomplish. Once you understand how your camera reacts to a given lighting situation, you can then begin to override the camera and create exposure values that fullfill your creative instincts.

15. Use a long focal length lens and a large aperture to create that blurred background look. This is a very effective way to isolate your subject, especially people, against a soft background.

16. In cold weather, keep your spare batteries in a pocket underneath your outer coat. Cold weather will zap battery life. Keeping them warm will help prevent a loss of power. Also, chekc your batteries before you head out and make sure they are fully charged.

17. When shooting in low light, use a tripod. It is almost impossible to get a sharp photo in low light even with a higher ISO. A light weight yet sturdy tripod will steady your camera for those long exposure shots.

18. When shooting a night scene like a building with lights, if possible shoot just after dusk while there is still some ambient light in the sky. This will provide a dramatic dark blue tint to the sky which is usually more pleasing than a black sky.

19. When shooting Fall colors, you can change your white balance setting to Shady or Overcast, even on sunlit days. This will create a bolder, richer look to your colors.

20. When shooting an action scene, try panning your camera with the action. What happens is that your moving subject will look sharper while the background becomes blurred by the movement.

21. When shooting groups of people, think in terms of triangles and avoid having your group stand in straight lines. Turn some of the group in one direction and others in another direction. Place shorter people in front of taller ones, but create a series of random triangle looks between the people. Some can be sitting, while others are standing, however, avoid any large gaps between the height of the people. Spacing is important and remember those in front and closer to the camera will appear larger than those further back.

22. Shoot some large groups from an elevated location if possible. This will often place everyone pretty much along the same plane and might avoid front positioned people from appearing much larger than those inthe back.

23. Don't be afraid to use an off camera flash or speed light. To truly take advantage of the powerful effects a flash can provide, you must be able to shoot them remotely away from your camera. It is amazingly simple to do once you understand the basics of the process and it also will offer a tremendous advantage to creative people photography. So take some time to study about how to do this.

24. When shooting waterfalls, it is best to shoot them on an overcast day. Bright sunlight creates to much contrast between the lights and the darks. Overcast days offer a soft even light making it much easier to capture the true nature of the moving water.

25. And finally....don't be afraid to try something new. Never allow yourself to get locked into shooting the same old things the same old way. Ask yourself questions like.."I wonder what will happen if I do....this?" Then, try it and see what happens. The best way to grow photographically is allow yourself opportunities to use your camera in different ways even if you are not comfortable doing it. Cross training like this helps to avoid growing stale and one dimentional. Always be willing to place yourself at that point of greatest potential.