Tag Archives: time-lapse

The Fabulous Forum

Sep
09
2013
by Michael Stern | 0 Comments

August 27, 2013. I was on my 10th assignment for the Madison Square Company in New York. As the renovation of the Fabulous Forum proceeds, my archive is contains over 1500 images and with each new shoot, continues to grow. Here’s my gallery of 39 (so far) select images.

I love documentary photography because of the way historical photography instantly transports me to a place and time much like a favorite song does. Creating the historical record of what’s taking place at this storied venue will be important for future Los Angelenos and scholars. and it’s a lot of fun for me now. My client has mentioned more than once how much she appreciates my devotion to the project. No worries!

I grew up watching the Lakers, Kings and the circus at the Forum. Usually with my dad. Just he and I. As he’s been gone several years now, this assignment takes on more meaning each time I venture through the place documenting it’s current state. It saddens and thrills me simultaneously. Kinda weird. But oh so much fun.

Here’s my equipment-light location package:

time lapse photography package
Everything I need is in the box: tripod, speedlight, cameras, lenses, water, food, towels, flare shield and an iPad. (I look at previous shoots to match up camera positions for shoot-to-shoot consistency)

iPad on location at the Fabulous ForumI ain’t no spring chicken anymore and with all the walking up and down narrow passages, traipsing all over and around various construction detritus and equipment, it pays to be as nimble as possible.

Each time I set foot on the property I’m obligated to wear steel-toed boots, an orange vest, safety glasses and a hard hat: Michael e. Stern in saftey gearI bought a Lil Mule camera dolly for the express purpose of moving my camera in random, controlled patterns. Here’s what it looks like:

lil mule time lapse michael sternIt’s sweet. I’m glad I made the investment in one. Here’s my first test with it prior to taking out to the Forum.

How’s that for fun? Footage from the Forum to follow….

Thanks for reading.

 

Michael

 

Related Images:

Head and shoulders portrait of conctruction worker. Group portrait of workers underground on the Crenshaw Line. Group portrait of workers above ground on the Crenshaw Line. Head and shoulders portrait of a male and female conctruction worker Group portrait of workers underground on the Crenshaw Line. Group portrait of workers underground on the Crenshaw Line. Group portrait of workers above ground on the Crenshaw Line.

Reflection of Effort

Aug
05
2013
by Michael Stern | 0 Comments

Through consistent and tedious effort my SEO strategy is paying off. I’ve been getting calls for commercial and time lapse photography assignments in key areas I want to work during this phase of my life and career: portrait, time lapse, construction and event photography. (not necessarily in that order)

This assignment came in about a month ago: to time lapse trucks entering the Port of Long Beach’s Yusen Terminals. The idea was to measure when the heaviest and lightest traffic times occurred throughout a 20 hour cycle. The end time lapse film had to include a clock to help easily identify these key times. My camera had to be in a single, stationary position.

My client scoped out the location earlier and selected the perfect spot: inside, high, protected and with power. The only issue was reflections while shooting through glass. Here’s my solution: a Lenskirt and a black cloth on a C-stand.

TruckStops-7TruckStops-9Why have the extra black screen behind the camera? Years ago I learned the value of testing set ups before prior to a shoot. For this shoot I tested my camera, intervalometer and tripod. I allowed for reflections but not enough to prevent a reshoot. I then purchased the Lenskirt to eliminate the possibility of reflections for said reshoot. I bought this particular item because a colleague recommended it.

I needed to ensure (as much as possible), that reflections would not interfere with the content. I’m setting up for the test when I realized that the lens was going to be at an oblique angle to the glass and reflections could still be an issue. And I was correct. I mimicked my set up as closely as possible and lo and behold there were reflections even with the Lenskirt attached. The current version was designed assuming  lenses will be squared up to the glass, not at an oblique angle. I just heard from Aaron, the creator of the Lenskirt and he’s making a larger version for just this reason. Hooray!

Here’s an early frame pull prior to my 16 hour test:time lapse test shoot using a LenskirtThis cropped frame clearly shows the reflection of a basket and the wall behind it in the window. This problem was solved by adding the black cloth behind. So now on to the shoot. Once on location I cleaned the glass, set up my camera, doubled checked all connections, ran a few test frames, reset the Promote Control to begin 13+ hours hence, left and hoped for the best.

close up of Promote Controls intervalometerThe shoot went well except that outside dirt and the glass thickness caused additional issues that had to be dealt with in post:

time lapse frame pull from the Yusen Terminals night shootThe reflections being as prominent as they were surprised me. The dirt was unfortunate. If I could have arranged for a cleaning of the glass prior I would have. As I scrutinized the window during set up, I knew the dirt bunnies would be minimal and easy to remove.

Here’s the finished frame:

time lapse frame from the Yusen Terminals film

Lightroom’s spot removal tool and the sync function were invaluable in helping me build better content for this client. The larger issue here is that there are ways to get new business in the door and there are ways to successfully complete an assignment. Unknown things often happen on a shoot, success and failure change places easily and the agile and vigilant pro understand this.

As a buyer, that’s what you want in todays’ market.

The completed short film:

Thanks for reading.

Michael

Time Lapse Compositions

Jul
04
2013
by Michael Stern | 0 Comments

Space Shuttle Endeavor spends time in Inglewood, CA.

As a still photographer first and a relative newcomer to time lapse stories second, I needed to reaffirm and embrace my core strength: composition and framing. Where I set my camera is an important first step when building one photograph at a time. As I’ve transitioned to time lapse short films and stories, it has become more important to think about framing and composition when exposing 1,000’s of frames. Moving a camera during a time lapse sequence makes it crucial to think about as many compositional relationships and framing issues as one can. If it’s in the shot it’s going to be recorded.

You have to decide if the elements in question are distracting from or contributing to the story. It’s up to you to make this determination. It’s what helps to refine a recognizable style. It’s a process of learning how you respond to a situation, what your vision is going forward from that point to the end of the project. A lot of time lapse filming is not set and forget…

Sometimes of course you have what you have at a scene and you do the best you can but when the opportunity presents itself, take advantage of it. Preview the shot and move items out of the frame that get in the way. On top of all your technique and process, is a story that needs telling, If this story is not evident to your audience, you’ve failed the mission….

I should follow my own advice. This short story would have been better if I had removed the sports items against the house and styled the drapes seen from the MRKII camera position. I was caught up in 3 camera placements, 3 interval settings and in 3 points of view. And missed it. I didn’t think about the peripheral elements in all 3 compositions as I should have, just the T2i, (panning) and 5D, (downward angle) POV’s. My bad. Fortunately most of the usable footage came from the panning camera.

I wanted to repeat a camera move over time, blend the footage together in post. I figured this would facilitate moving the story along with a seamless and smooth feeling to it. For me it’s about the emotional response you get from watching my stories, this is nothing new by any stretch but is it worth remembering…..

FYI the device I used for this particular story was the Syrp Genie…

Happy 4th.

Michael

Camera 2 Camera Expo June 28-30, 2013 in Vegas!

Jun
20
2013
by Michael Stern | 0 Comments

 

Camera2Camera

Camera 2 Camera Expo…Come On Down!

I was invited to participate at next weeks brand new camera expo in Vegas. I’m putting on a 3-day time lapse workshop and a 90 minute Lightroom Develop Tips demonstration.

I’m bringing a Syrp Genie, an eMotiomo TB3, a Dynamic Perception Stage 0 Dolly, a Meade Instruments telescope pan and tilt head, a Promote Systems Controller amongst other gear that will be available for participants to handle and try out. Under expert supervision of course…  : )

I’ve been shooting a lot of content to show and all participants will have access to the gear.

We’ll be going out to a dry lake bed for an early morning shoot, to the Bellagio for an afternoon shoot and to the roof of the South Point Hotel Casino & Spa for our evening shoot. Afterwards will be working with Lightroom and Premiere to put our sequences together.

Participants are encouraged to bring their own gear but not to worry if you don’t have it all. I do.

This will be fun. I guarantee it.

The second program is about ways to use the Lightroom Develop Module to pull the moment out of your photograph. Called Fantastic Toning Tips, I’ll walk you through the must do’s that I follow plus a boatload of ways to add punch, drama and visual effects to one image or an entire time lapse sequence. (see above)

Hope to see some of you there!

Michael

Light Painting A Sunset

Apr
02
2013
by Michael Stern | 0 Comments
Twilight Magic

Twilight Magic

I’ve been testing a pan and tilt time lapse move I’ll be incorporating into a new film. It’s important to understand visually how the “move” looks and what result each pan and tilt setting delivers. As part of my preparation, I purchased a pan and tilt head that’s designed to be used with telescopes, tracking bodies in motion. It can be programmed to pan and tilt at varying speeds and thus my testing has incorporated a variety of subject matter and frame interval rates.

The image above is the end frame for one of the tests I did this past weekend in Palm Desert. It’s a Photoshop composite with 18 separate layers using the “Power Pop” light painting technique where a 580EXII flash is fired off manually 20-100 times and spread across 20-60 frames. It’s the signature look for the ending of certain time lapse narratives but it’s just one of the ways I build better photographs. It takes time, patience and creativity to build the assets, but you’re giving yourself flexibility and control over the process. Time well spent I say….just bring a jacket and a few snacks…

Why do I add an ending this complex vs. just having the scene fade to black? ? Because I want to do more than just a time lapse sequence. I want to have visual fun with the process in its’ entirety. Why should I limit myself to one thing during a shoot? Besides it’s the challenge of it that I find compelling….what can I do to finish this thing off? I know! A multiple exposure, light-painted landscape that’s illustrative in nature.

I’ve done so many of these now that I’ll be putting a new gallery up soon with this type of work. Stay tuned….

I’ll be posting the tests as I complete them. Be sure to click the “Videos/Experiments…” link above to enjoy my previous efforts.

In the meantime here’s what the Layers Panel looks like:

Panel

Let me know if I can answer any questions for you.

Michael

 

 

 

The Time Lapse Narrative: Chapter 2 The Landscape Process v4

Mar
22
2013
by Michael Stern | 2 Comments
Adobe Premiere Editing Workspace

Adobe Premiere Editing Workspace

Well it took long enough didn’t it? Chapter 2 of my time lapse saga at The Huntington was published a few weeks ago. The feedback from my client, friends and colleagues has been 100% positive.

I’m grateful for the response and of course was hoping for exactly that but one never knows…

The months I spent becoming familiar with the material I recorded, (stills, video and sound) sourcing out music for the soundtrack, learning Adobe Premiere and the principle3s of strong editing have all been worth the effort.

I will write again about the 7 things I have learned that make up a time lapse narrative film.

I recommend a small popcorn as this is  4:21 in length.

Until the my next post…enjoy the show.

Michael

Light Graffiti

Jan
16
2013
by Michael Stern | 1 Comment

Stairs

I volunteered to work on a time lapse film crew…three days at 13+ hours per day from 1pm until 3am…..sheesh! Why did I do this? Reason 1: business is slow (betcha didn’t think of that one) Reason 2: An incredible learning experience from a fellow who is expert at motion-control and stop-motion still imaging. Reason 3: The location of Linda Vista Hospital in Boyle Heights near downtown Los Angeles. Built in 1905, it’s in the process of being converted into senior housing but now it’s old, dirty, dark, dank and ripe for photography of all kinds. Many a horror movie and tv show have filmed here but soon it will be no more, access denied. So here we are, five intrepid souls in search of a common experience. I’m shooting some of the sequences, schlepping gear up and down stairs and mentoring the more inexperienced members of the crew. I too am being mentored in motion-control techniques. It’s a blast.

Many of you know I’m into time lapse as a money maker as well as for the love of it. The filmmaker Jeff Frost and I met last year when we were speaking at a digital imaging group. We’ve since become friends and enjoy working together. A life long learner I jumped at the chance when Jeff asked me to be part of the crew and contribute by shooting sequences for his new film. Needless to say I was humbled and honored by his request and trust in me.

No money? No problem. Actually it is but what are ya gonna do? Many time you do things for reasons other than money. I did however carve out some time between sequences to shoot a few light paintings I call, “Light Graffiti”.

FireHose

No big deal, just long exposures, (8-30 seconds) one flashlight, a bit of Lightroom magic and a brief visit to Photoshop’s, Blend Modes and Layer Masks.

Tank_01

I also made a very brief time lapse so you could enjoy the view from the roof…..I hope to make one or two more later this week. Stay tuned.

LA_Night

See ya!

Michael

 

 

Related Images:

Head and shoulders portrait of conctruction worker. Group portrait of workers underground on the Crenshaw Line. Group portrait of workers above ground on the Crenshaw Line. Head and shoulders portrait of a male and female conctruction worker Group portrait of workers underground on the Crenshaw Line. Group portrait of workers underground on the Crenshaw Line. Group portrait of workers above ground on the Crenshaw Line.

Tilt-Shift Perspectives

Jan
09
2013
by Michael Stern | 0 Comments

San_Francisco_15

One way for an SECP to stay ahead of the pack is by pushing the envelope of their technical and visual creativity. Application of the tilt-shift edge blur miniaturization effect has been around since 2006 but that’s no reason not to explore it further. I love the deliberate miniaturization effect it creates and I’m a huge fan of this look. Focal Point from OnOne Software is an application that is good at creating this look in post-production. Photoshop CS6 has a tilt-shift blur filter. I also like the way edge blurring brings ones focus (pun intended) to the center of the frame. Although sometimes it doesn’t work… In compositions that include architectural elements, I like things squared up as per the basketball hoop. In basketball a lot of the action occurs away from the center of the hoop. Because I refused to budge the camera position, my best photos were when the action happened dead center. When the action was even slightly off center the images are flawed. Oops! Lesson learned. Action photography requires more fluid camera movement. Check.

ETE_Cavs_1-114-2

I’m using it to create an effect on 60,000 images for a time lapse video. (Let me know if you want to see it and I’ll send out a link when it’s complete.) And if you know your stuff you can create a tilt-shift like effect in LR4. The advantage of doing the tilt-shift blur effect in post-production is that the effect can be controlled to produce a variety of permutations. And to some degree most all permutations are valid. This is both the good and bad about working in a post-production digital workflow because for some folks it apparently relieves them of the responsibility of thinking more profoundly about their work when actually building their photographs in real time. Don’t get me worng (:() I love working after-the-fact, spending time tweaking and adjusting my vision until the wee hours of the morning. But I occasionally work in real time, under real pressure to make my shots. It’s exciting. And dangerous because failure is hanging out with me. We’re friends of course, been together a long time. Being 100% present while shooting reconnects me to the creative process that drew me to photography all those summers ago.

Santa_Fe18

All of the photographs you see here were done live. Meaning I made the appropriate choices while shooting and didn’t rely on post-production tilt-shift techniques to complete my images. I could have, but chose not to. I chose to give myself the challenge by doing it in camera without a net. Or Franky. (if you get the reference I’ll send you a signed copy of my book. But hurry only three will be winners). I also did it while working with vastly different subject matter and lighting scenarios. All with my trusty Canon 24mm f/3.5 tilt-shift lens. Choosing to shoot in the moment made me focus on the task at hand and not fall into the “we’ll fix it in post” mentality that pervade many younger creatives today. I admit sometimes it’s tempting to go the easy way when in the field and finish it up in post. I wanted a break from that workflow. And I wanted to test myself. The post-production software and tools I mentioned earlier are great and I’ve used them all. I just want to feel alive again and not some sort of robot that pushes buttons first and creates later.

Huntington_Beach-24

This took me back to my roots, (gray as they are) and I’m glad to do it for it brings me to my point…I possess an vast amount of imaging experience and it’s my right and mission to bring it to the marketplace so my clients see my vision and hopefully how it can work for their projects when they need something that is thoughtful, relevant and done at the highest level.

Santa_Fe58

I’m not saying all the photos here are home runs. (to see a more images click here) Heck a couple are only doubles. I can live with that because a lot of valuable knowledge was gained that will be applicable at the appropriate time. I choose to show you my work in various states because the subject matter and local conditions really matter when it comes to building effective tilt-shift images. This newly acquired knowledge in turn makes me more valuable in the marketplace because I know what will and will not work in a given situation. A business building skill meshing with a photographic building skill. what more could I ask for? Oh yeah…work!

Thanks for reading.

Michael

 

 

Pushing The Limits

Dec
16
2012
by Michael Stern | 0 Comments

In the past when business was slow it was damn near impossible for me to self-motivate to shoot for my book. As I’ve aged and embraced the advantages of our digital age, I’ve fallen in love with the creative process of photography again. I look forward now to an empty pipeline in that if frees me to work on my portfolio. I have the luxurious problem now of finding time to interpret my visions.

I’ve give myself assignments like flash fill and indoor sports, available light long lens portraits, tilt-shift travel and time-lapse of just about anything. Shooting with my 5D, 5D MRKII, GoPro Hero 2’s and my iPhone, I’ve amassed gigabytes of new work. Coupled with my new found expertise in Lightroom and Premiere and I’m having a blast. I feel like a newbie!

I’ve always been one for taking a mundane subject and building a dynamic photograph from it. It’s comparatively easy to take something beautiful and make it more beautiful through the magic of photography, but I thrive the most when I photograph average subjects and turn them into something beautiful. Here’s a shot I made using my tilt-shift lens of a WWII submarine docked at Fisherman’s Wharf in San Francisco:

WWII

This is one of the core values of my career, pushing the limits to see what can be seen. I’ve always been this way, even back in my film days when photographing hundred’s of children’s toys and clothing for Disney, Applause, Universal Studios and Paramount. Sorry, I just had to name drop here….that was fun! But I digress….

The image at the top of this post is the completed image. Here is what came out of my camera. Essentially it’s all here, it just needs a little bit of this and that:

Endeavor out of camera

I arrived 2.5 hours early and scouted spots where I thought I’d get the best Endeavor and Forum view at the same time. This was crucial for two reasons: it gives context in terms of location and this image is being used as a marketing piece for a very specific purpose, something I call guerrilla marketing. Here’s the scenario: thousands of people were jockeying for position with their camera phones and dslr’s, pushing  and shoving, drinking hot chocolate, sitting on chairs, standing on cars and holding their children’s hands. And there I am with my MRKII, my 24mm tilt-shift, 24-105, 16-35 and my brand new 100-400. I found my spot, planted my flag and waited. When things lined up I took my shot. Several in fact because the jet meant I had a choice regarding its’ placement in the composition. I love it when a spontaneous event happens, it creates added pressure and makes it all the more exciting. You have to be present at this point in order to take advantage of the situation. If you’ve done your homework these things usually work out well. And the jet was a gift I wasn’t going to waste.

This frame had the jet in the right spot for the composition I envisioned. I didn’t care for the distortion but my 24mm tilt-shift was not wide enough so I switched to the 16-35. I’d prepared earlier with my lens choice and at this point I was just waiting for the sun to get into position.

Screen Shot 2012-12-15 at 2.24.54 PM

Per my usual protocol, I applied camera and lens profile corrections. And after adjusting for tone, color, clarity and the graduated filter, I was still not crazy with the amount of distortion. So I went to the Manual adjustment portion of the Lens Corrections tab in Lightroom and pulled the vertical slider to a -72:

Screen Shot 2012-12-15 at 2.26.06 PM

Brought the file into CS6 to add clouds, move the plane down a bit and generally tone site specific areas that I felt still needed work. It was only later that I gave myself permission to remove the three poles. This IMHO really pushes the image into the beautiful and dynamic category. Success!

Space Shuttle Endeavor spends time in Inglewood, CA.

Space Shuttle Endeavor spends time in Inglewood, CA.

FYI: the Layers Panel:

Screen Shot 2012-12-14 at 11.26.26 PM

Your comments are questions are welcomed.

Thanks for reading.

Michael

 

 

Without Risk You Become Irrelevant

Oct
08
2012
by Michael Stern | 0 Comments

I’m curious so naturally I hung out with the Curiosity. At JPL, Pasadena, CA.

 

I’ve been wanting to address the issues of failure, freedom and success for quite some time now. And the day has finally arrived. An SECP is compelled to learn new skills, take on new challenges and generally embrace the idea that learning and risk taking are inextricably intertwined and never cease. For example I seek out in-person and online events where I get to speak, teach and potentially sell products of my own making or that of partner companies. I attempt to do this in an honest, straightforward and humorous way. I spend many hours preparing materials and information and practicing the delivery of said materials and presentations.

The reason I do this: I’m dyslexic and was labeled slow in grammar school. I had tremendous difficulty comprehending what was being said and taught. My seat was moved to the front of the class. I was spoken to in a loud voice because it was clear I had a “hearing” problem. It was hard for me to endure teaching methods that did not work. Feeling humiliated added to the stress and frustration. An older brother however took great joy in teasing me about being a retard. (the acceptable word used back then) Ouch!

Thinking about my dyslexia and those school experiences moved me to see what I could do with the art, science and profession of teaching. I imagined my students (and anyone listening to me for that matter) as being dyslexic. This made me concentrate on the variety of ways information can be packaged and delivered. I strived to ensure my processes are clear, straightforward and broken down into easily digestible bits. This took years of practice, reading class critiques from students and administrators alike and professional development courses. A lot of work.

Does this take away from my time as a commercial photographer? You bet. Did I develop a new skill set, polish existing skills and insight into myself as a professional artist? Check that.

I love the process of being my own person. I’ll take on most challenges, go virtually anywhere to gain new information, knowledge and experiences that I then feed back into my business administration, marketing and sales roles. Similar to how I plow profits back into new equipment and training, teaching informs several aspects of my business and has enabled me to become an education/speaking expert in a particular market segment.

This constant searching for new ideas and experiences helps to keep me fresh and topical.

What are you doing? Please share your thoughts in the comments box below.

The best comment will win a signed copy of my book!

Thanks!

Michael