Not a Book Review
I had to roll the dice on this month’s blog, the original idea was music-related, but I procrastinated too long to get the images ready in time. The second idea (this one) is somewhat fashion photography related, and what do I know about fashion photography you may ask?…. Jack……Shit!
I had to roll the dice on this month’s blog. The original idea was music-related, but I procrastinated too long to get the images ready in time. The second idea (this one) is somewhat fashion photography related, and what do I know about fashion photography, you may ask?… Jack… Shit! I purchased the eBook version of “Model: The Ugly Business of Beautiful Women” by Michael Gross about a year ago, and I finished it within the past month. I’ve always enjoyed documentaries, behind-the-scenes books, and movies; this particular book was right up my alley. It was like a roadmap of the who’s who in the modeling industry from the 1920s to early 2000s. I have to admit, some of my favorite parts were about iconic photographers like Avedon, who threatened to quit on two separate occasions, and editors caving in to his demands. I also enjoyed the part about Peter Lindbergh suggesting Linda Evangelista cut her hair in a boyish way, which led to her career taking off. Then there’s Steven Meisel. I got to know his work when he shot the images for Madonna’s book Sex, which I own. I bought it back in 1992. One of my favorite passages in Michael Gross’s book describes how Meisel got started as a fashion photographer. Here is an excerpt from the book.
I purchased the eBook version of “Model: The Ugly Business of Beautiful Women, Michael Gross” about a year ago, and I have finished it within the past month.
I always enjoyed documentaries, behind-the-scenes type books, and movies. This particular book was right up my alley. It was like a road map of the who’s who in the modeling industry from the 1920s to the early 2000s. I have to admit, some of my favorite parts were about some of the iconic photographers, such as Avedon threatening to quit on 2 separate occasions and editors caving in to his demands, or Peter Lindbergh suggesting to Linda Evangelista that she cut her hair in a boyish way, and her career took off. Then there is Steven Meisel. I got to know his work when he shot the images for Madonna’s book Sex, which I own. Repurchased it in 1992, One of the passages I truly enjoyed in Michael Gross book however was how Meisel got his start as a fashion photographer, below is an excerpt from the book:
“Meisel had never worked in a studio, he was really insecure. He had good reason. An assistant-who was promised tons of work by Kezia Keeble to show Steven (Meisel) how to do it would set the lights and the camera says someone that watched them work. ““Kezia didn’t know the front of the camera from the back. She wanted a photographer she could mold. He was her boy. He would tape Avedon spreads to the floor of the of the studio and say “Light it this way” and “pose that way” all he would do was push the button. Christopher Baker,, another assistant, says that all Meisel owned was one Nikon and one 105 mm lens” “He didn’t care. it was weird”, Baker said “He was like chosen”.
-Model: The Ugly Business of Beautiful Women, Micheal Gross”
Which led me to another discovery, This one on eBay. While searching for all things Avedon, I came across a listing for some medium format negatives by fashion photographer Ray Solowinski, the listing read that Mr. Solowinski was an associate/assistant to Richard Avedon, Wow! this was quite a find; at least to me. The negatives and Mr. Solowinski seem to line up with much of the publications Avedon would shoot for, such as Life, Vogue, Photoplay, and Seventeen magazines around the 1950s and 1960s. Other tidbits I uncovered was he was married to Ford model Brynne Shaw (1923-2017), she modeled for Ford 15 years and later retired to take care of her family.
I received approximately 60 medium format negatives, with 2 letters of transfer of ownership and copyright, what was interesting was every thing I researched on him he would be using a Rolleiflex camera, half of what I received supports this, the other negatives were shot with a Hasselblad camera; Hasselblad’s “V”system leaves a distinctive “V”notch on the left side of every image shot with their cameras. I’ll scan some of the images for a later blog.
Road Stories : Black Stone Cherry, 2009 vs 2011
Carnival of Madness was actually my 2nd attempt at photographing Black Stone Cherry. My first attempt was back in 2009 in Corbin Kentucky at the newly built Corbin Arena
The 2011 Carnival of Madness tour was the last tour I photographed. Health issues played a significant role in my decision to step back after over 20 years in the industry. I attended the tour in Huntington, WV, which felt fitting since I had decided to put down roots in West Virginia two years prior. The Carnival of Madness marked my second attempt at photographing Black Stone Cherry, and I successfully captured it. My first attempt was in 2009 at the newly built Corbin Arena in Corbin, Kentucky, just a 25-minute drive from my home in Williamsburg, KY. Unfortunately, my credentials for that show never materialized. I had coordinated with their record label to set everything up, and Roadrunner Records had always been supportive of my work. Amy, Lily, and Jessica from the label were invaluable; they ensured I was on the list at will call whenever I arrived at a venue.
However, when I arrived in Corbin, I waited over two hours in the will-call area for my credentials to be verified, but the venue staff could not locate the credentials list. This situation was not a reflection of Roadrunner Records, as I had always enjoyed excellent communication with them. It was also unrelated to Black Stone Cherry, their management, or the band itself, as they had no knowledge of my supposed attendance. The issue rested squarely with the Corbin Arena and its staff.
Lost lists and miscommunication among staff at a venue are common occurrences. However, it raises concerns when those working the door allow people to enter without tickets. I experienced something similar at a .38 Special concert I was supposed to photograph the previous year in Corbin. To be fair, 2009 wasn't a great year for the city of Corbin overall.
So, was it worth the wait to finally photograph Black Stone Cherry after two years of dealing with the Corbin situation? My answer is a resounding yes! The show was beyond anything I could have imagined. I had a hard time keeping up with their electrifying performance. After the show, I saw the band members as they headed to a meet-and-greet. I was sitting on the ground, dripping with sweat and breathing heavily into a towel as they walked by. I managed to gather my strength and exclaimed, "Great show." One of the band members replied, "Are you alright?"
As for my final thoughts, I am not bitter or angry about my first attempt to cover a Black Stone Cherry concert. Instead, I am grateful for all the opportunities I've had over the years, whether good or bad. These experiences have become my stories.
Web : www.blackstonecherry.com
Gear : Nikon D200 w/Tokina 20-35mm f/2.8
All images edited with Capture One Pro 20
*Color versions of some of the images can be found in the archives by clicking here. [Archives]
Road Stories: Dude Don't You Need Your Camera
Rockstar Mayhem Festival, Raleigh, North Carolina, August 3, 2010. Though I could just pick many stories from this event, there is one in particular that stands out, and it goes something like this.
Rockstar Mayhem Festival, Raleigh, North Carolina, August 3, 2010. Though I could choose many stories from this event, one in particular stands out, and it goes something like this. First off, it was incredibly hot that day, I mean really hot, around 92 degrees, and the shade offered very little to no comfort, especially when you had so many bodies moving between the two side stages that were right across from each other — the Jagermeister stage and the Silver Star stage. These stages were offset from the main stage and the press lounge, creating one huge mosh pit as the bands performed from one stage to another. 1:00 pm on one stage, 1:25 pm on the other, 1:45 pm back again, back and forth.
In the press pit (side stage) Justin Hagberg of the band 3 Inches of Blood, photo by Brian Cade
Gear: Nikon D200 w/Tokina 20-35mm f/2.8
In the press pit (side stage) Jim LaMarca of the band Chimera, If you look at the bottom left, just above the camera shown in the image, you’d see my skinny ass; photo by Jay Beadnell. owner/photographer at Stageshotz photography, Raleigh, NC , Image used with permission.
I met up with fellow photographers Jay Beadnell, Graham Denzler, and Jim Green, all residents of North Carolina, and our good friend the late Jason Kotas of New York. This was the first time we had met. We all decided months in advance to meet up in one city to photograph Mayhem Fest and hang out. All of us were either shooting for a major publication or an underground rag, which was my comfort zone.
Back and forth, back and forth, across the lot from where the two side stages faced each other. By this point, I had already covered In This Moment, 3 Inches of Blood, Chimera, Shadows Fall, Norma Jean, and Hatebreed on the side stages. On the main stage, there was Lamb of God, Korn, and Rob Zombie—only one band left: Five Finger Death Punch. I really tried to stay hydrated throughout the day. I was drenched in sweat, tired, and actually looking forward to the festival being over.
We were once again sitting in the press lounge, waiting for the event staff to escort us to the main stage one last time. All I remember is everyone talking, everything moving in slow motion. All I could do was melt into my chair at our table and try to get my bearings back into focus. Then I saw everyone standing and leaving the table. I guess it’s time to shoot the last band. I got up and started to follow our group to the main stage when my good friend and fellow photographer Jason Kotas said, “Dude, don’t you need your camera?” I was so tired and out of it that I didn’t realize I had left all my gear on our table in the press lounge.
Back and forth, back and forth, across the lot from where the two side stages faced one another, I had already covered In This Moment, 3 Inches of Blood, Chimera, Shadows Fall, Norma Jean, and Hatebreed on the side stages. There was Lamb of God, Korn and Rob Zombie on the main stage, only one more band to go, Five Finger Death Punch. I tried to stay hydrated throughout the day, but I was drenched in sweat, tired, and looking forward to the festival being over.
We were once again sitting in the press lounge, waiting for the event staff to escort us to the main stage one last time. All I remember at this point is that everybody was talking, everything was moving at half-speed, and all I could do was melt into my chair at our table, trying to get my bearings back into focus. Then I saw everyone standing and leaving the table, I guess it’s time to shoot the last band. I got up and just started to follow our group to the main stage, we were just outside the press lounge when my good friend and fellow photographer Jason Kotas says to me, “Dude don’t you need your camera”, I was so tired and so out of it that I didn’t realize I had left all my gear on our table in the press lounge.
Five Finger Death Punch images by Brian Cade
Web : www.fivefingerdeathpunch.com
*3 Inches of Blood images by Brian Cade, Gear: Nikon D200 w/Tokina 20-35 f/2.8
*Five Finger Death Punch images by Brian Cade, Gear: Nikon D200 w/Nikkor 80-200 f/2.8
*Image of Jim LaMarca (Chimera) by Jay Beadnell of Stageshotz.com used with permission
Mola Demi : No Test Images .....Because?
So it was a good time as any to make my purchase. I was going to have the June blog about these 2, showing sample images and my impressions and images from my test, that, of course, will have to be another day,
Last month, I introduced two new pieces of gear into my setup: the Elinchrom RX battery pack with “A: head and the long-awaited Mola Demi (White) beauty dish. I’ve wanted the Mola beauty dish for some time, and B&H Photo had it on sale for $278, so I took the opportunity to make my purchase. I was planning to write the June blog about these two items, sharing test images and my impressions as I integrated them into my workflow. However, that will have to wait for another day. The Mola Demi I received was unfortunately extremely flawed, but this wasn’t something B&H Photo or the good folks at Promarks/Mola offices could have foreseen; it was a tooling issue from the factory. Here’s the breakdown of the assembly: there are eight holes drilled in the rear of the Mola Demi—four for mounting a plate that holds the speed ring in place, and four for the diffuser plate inside the Demi.
I was going to write the June blog about these 2, showing test images and my impressions as I introduced this to my workflow, that, of course, turned out to be for another day.
The Mola Demi I received was, unfortunately, extremely flawed; this was by no means a problem that B&H Photo could have foreseen, nor any of the good folks at Promark’s/Mola offices. This was a tooling issue from the factory. Here’s the breakdown for assembly. There are eight holes drilled at the rear of the Mola Demi. 4 holes are to mount a plate that holds the speed ring in place, and the other four holes are for the diffuser plate held in place on the inside of the Demi.
As I started assembling the Demi, I noticed that 3 of the eight holes did not align with the mounting plate. I tried different orientations for the plate—45 degrees and 90 degrees—but each time, the same issue occurred: the holes were at least 1/8 inch away from the center.
At this point, I am admitting defeat and trying to keep my frustration in check. I locate the go-to person through the Mola website—Herb Pletcher—to discuss a very obvious quality control issue. First, I email Herb, and shortly afterward, we speak by phone. After several attempts to make this work, we finally conclude that there are only two options left: 1. drill new holes to accommodate the holes that are 1/8 of an inch off, or 2. return it for an exchange with B&H Photo. Of course, I went with option 2. I was planning to write a June blog about the Elinchrom RX and the Demi, but that will have to wait another day (sigh). Now, I wait for it to arrive again.
Here is the contact info if you have purchased a Mola beauty dish and encounter an issue. Herb Pletcher email: herb.pletcher@promarkbrands.com
New Gear : Elinchrom RX & Mola Demi
With all photo projects on hold, it gave me some time to rethink some of the photo tools at my disposal, and to get rid of what I didn’t need or wasn’t using enough of and bring in some much needed new gear.
With all photo projects on hold, it gave me some time to rethink some of the photo tools at my disposal, and to get rid of what I didn’t need or wasn’t using enough of and bring in some much needed new gear.
The first new arrival was a “22 Mola Demi beauty dish (white) from B&H Photo in New York. It arrived about a week or so before the start of this blog. I wanted to replace my 17” silver Elinchrom beauty dish, which I decided to keep; just in case I need to add a little crispness to my images. I engaged renowned fashion photographer Melissa Rodwell in an earlier offer she made about helping me purchase a Mola Beauty dish and based on a photoshoot she did with the Demi (the video can be seen below) it made my decision that much easier to make my purchase.
**Though the video above shows content by Melissa Rodwell and her team, the YouTube channel it appears on is not affiliated with her brand.
The 2nd and last piece of new gear to arrive was an Elinchrom RX Speed AS (kit) This battery-powered system rates at 1100 ws of power, more than enough to overpower the sun. I fell in love with the Elinchrom system a few years ago when I sold off my Paul C Buff lights in place of something more portable and lighter, I bought the Elinchrom Quadra Hybrid and the Quadra RX soon after, and love them. So why the decision to get the RX? Well, it wasn’t that tough of a choice. Before the purchase of the RX, I was using an older Elinchrom monolight with my Quadra set up; the Elinchrom EL-1000. I still had my old Paul C Buff battery pack, the Vagabond II, minus the battery, which I was going to sell (still am) and take those funds to get another Quadra, As it goes, I saw the RX was listed at a steal with B&H Photo in New York. Here’s the link:
https://www.bhphotovideo.com/c/product/532562-REG/Elinchrom_EL_10287_Ranger_RX_Speed_AS.html
“Elinchrom Ranger RX Speed AS Asymmetrical Battery Powered Pack This is the Elinchrom Ranger RX Speed AS Asymmetrical Battery Powered Pack. The “RX” signifies the ability to be fired by a remote control handset, or computer. The “AS” indicates the ability of the 1100Ws power pack to divide power to each of 2 heads asymmetrically.”
I would like to thank Melissa for her friendship and for being so approachable, it’s photographers such as her that makes me want to do more as a photographer., to explore and experiment outside my comfort zone. I’ve spent so much time on the road shooting events, I almost forgot what it was like to actually create something,.
You can see Melissa Rodwell’s amazing work at her web site, as well as in her Magazine ALICE. where she and her sensational team put out some amazing content.
Helpful links of these brands :
Staying Creative and Other Stuff During The COVID-19 Pandemic
As the COVID-19 pandemic takes our world by storm, many of my fellow photographers as well as myself have wiped our calendars clean of all photo shoots until further notice. I’ve been keeping myself busy with some re-edits from past assignments, photographing birds and attending online town hall meet ups and forums
As the COVID-19 pandemic takes our world by storm, many of my fellow photographers as well as myself have wiped our calendars clean of all photo shoots until further notice. I’ve been keeping myself busy with some re-edits from past assignments, photographing birds and attending online town hall meet ups and forums with other professionals, using the ZOOM app, The 2 I have attend are Fashion Photographers Connect created by renowned fashion photographer Melissa Rodwell , also owner/creator of The Breed and Alice magazine, and lastly the ASMP., Both have been very mentally therapeutic.
XM Radio has given me another outlet to escape, especially with the Marky Ramone: Punk Rock Blitzkrieg channel and the Howard Stern Show, it tears me away from the TV, listening and watching the number of infected and dead grow larger each day, here and around the world.
Even my wife, the avid quilter has been keeping busy with making masks for those that need/want them, in fact the cover image for this blog I am wearing one of her creations. She makes sure I have a mask with me at all times, since I am considered “high risk” because of a respiratory disease that I was diagnosed with in 2012..
Below are the self assignments I had given myself, the next assignment is to get some decent images of our furbabies, some where along the lines of the work by Alexander Khoklov and Veronica Ershova.
Lastly but more importantly, I just wish people would take this pandemic more seriously, social distancing works, staying home works, we need to bend this curve of recklessness and selfishness, NOW!! cause tomorrow may not come for many of us if we don’t. I know this, I want to live.
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This image was actually an outtake from the assignment I did last month for this client, I edited it Capture One software
This image of local musician Bo Mcmillion was an assignment I shot in 2011, I reedited the image in Capture One software, converting it to black and white.
We have a few bird feeders in our yard, sometimes I put some out on a table on the back porch, I decided to take advantage of a good situation.
From all the birds that stop by to feed, this one stood out .
New Gear : Focusing Cloth For My 4x5 Camera
made me a 42x71 focusing cloth [dark cloth] to use with my Toya GII 4x5 camera. All I needed to do was to select the fabric.
For this month’s blog I thought I’d share some “new gear” that my wife Barbara handmade for me, she is such the avid quilter, made me a 42x71 focusing cloth [dark cloth] to use with my Toya GII 4x5 camera. All I needed to do was to select the fabric.
I already knew I wanted a black out cloth for the inner or under side of the cloth, preferably black. now the outer portion could be anything I wanted it to be, So I settled on a black base with small orange polka dots, colors more in line of what my logo represented.
The focusing cloth works as intended, I cover myself and the rear ground glass and focus on my subject, its a must have asset for getting critical focus on my 4x5 camera, especially for my portrait work. and a huge thank you to my loving wife for making it for me
Road Stories: My First [Paid] Live Gig Pt. 2 of 2
1996 was supposed to have been the year I moved out of Chicago, I had already quit my job with Kodak and was actually pretty excited of a change of scenery, but things happen and I was going to be in Chicago one more year before finally relocating in the winter of 1997.
1996 was supposed to have been the year I moved out of Chicago, I had already quit my job with Kodak and was actually pretty excited of a change of scenery, but things happen and I was going to be in Chicago one more year before finally relocating in the winter of 1997.
I pushed myself more than ever to get in more studio time to make ends meet, I had already been Ronald Anthony’s [my mentor] location/studio assistant in Park Ridge since ‘94, and the desire to photograph bigger events was becoming more and more intense than ever before.
I spent my free time trying to make new connections and reconnect with some people in the music industry, mostly in the rock n roll scene. Namely with some of the indie record labels; Roadracer [later to become Roadrunner], Nuclear Blast. along with radio station WWBZ [TheBlaze] later to become Rock 103.5. There were a couple of things that played against me at the time, 1. most people I had known in the industry during this time didn’t stay with their label but for only a few months at a time, there were always new faces when the A&R and sales rep people would come around. and 2. everyone was either wanting to photograph the Rock scene or had a pretty good hold onto there spots. So I needed a new game plan, I needed to do something different, think outside the box. Then it hit me. Country music, nobody was covering this genre in Chicago, though it was picking up momentum and hitting the mainstream quite quickly.
Marty Stuart, Country Fest, 1997
WUSN [US99] it did look to be a good fit for me, so I asked around and though it took several months of cold calls I Found CBS Broadcasting had recently acquired the station, which brought in a new station manager (Alan Sledge) program director (Steve Lee), a good opportunity for me to make a connection and present my proposal in becoming their event photographer. So at this point, I started to write out many key points for what I had to offer; such as meet and greets at events, live images of the events (both crowd and stage) and on the air coverage of guests.
I believe it was late winter or early fall in 1996 that I got the nerve to pick up the phone and make first contact, and with that call and initial meeting thereafter, I became the official event photographer for WUSN-FM (US99), covering all their station sponsored concerts, I also photographed all their behind the scenes and meet and greets between 1997 and 1998. This opened a lot of doors that would have been left closed, if I had not taken that first step and believed I was good enough to be that guy in the pit, and why not me.
Wynonna Judd, Country Fest, 1997
Bryan White
Country Fest, Chicago, Il. 1997
Keith Urban
Lambs Farm, Libertyville, Il. 1997
Paul Brandt
Country Fest, Chicago, 1997
Road Stories: My First [Paid] Live Gig Pt. 1 of 2
I remember when I first started to get the bug to shoot concerts, especially rock concerts, Though I had not a clue on how to go about it. Sure there were always some street festivals every summer, a lot of them bringing in some major talent along with the local scene, and lastly, there were the street musicians on about every street corner or subway stop. , and they were all easily accessible to anyone with a camera.
Luther Allison, Chicago Blues Festival, 1995
I remember when I first started to develop a passion for shooting concerts, especially rock concerts, although I had no idea how to go about it. Sure, there were always some street festivals every summer, a lot of them bringing in some major talent along with the local scene, and lastly, there were the street musicians on about every street corner or subway stop. , and they were all easily accessible to anyone with a camera. The summer of 1994 was a turning point for me. I had spoken to almost every established photographer I knew about getting into music photography, and the response was always the same: I had to pay my dues. Though this never dawned on me exactly what dues were or what steps I needed to take to reach my goal.
I remember the summer of '94, I had steady work at the studio. Shooting headshots for aspiring models in and around town, it just so happened that a client had to reschedule an appointment, which left the whole day to myself. So, I decided to venture downtown to the 11th annual Chicago Blues Festival. It was a golden opportunity to engage in some street photography, which I thoroughly enjoyed.
One of the first things that caught my eye as I entered the event area that early morning was a relatively large white tent on the side of the Art Institute of Chicago. It was one of several vendors setting up for the day. It turned out to be legendary music photographer Paul Natkin setting up for a photo exhibition of his work.
Paul has worked with some of the most prominent artists in the music industry, including Ozzy Osbourne, The Rolling Stones, and Prince, among many others.
I introduced myself, telling Paul I was an aspiring music photographer and asked what should I do to “pay my dues”, and quite simply Paul told me to photograph everything, cover all genres of music and from there build a strong portfolio for bigger and better gigs, and always be professional and to respect other photographers in the pit, and always wait for your shot. That was some of the best advice I had ever received from anyone up to that point. And I always remembered that to this day.
Between 1994 and 1995, I was building my music portfolio, paying my dues. I had the honor of photographing Blues legend Luther Allison (pictured above) with the help of Alligator Records photographer Eugene Kimmons. Most of my blues images were made possible because he took me under his wing; he was a great mentor to me. Ted Hawkins (below) was the first step into music photography. I went into the festival as an observer, waiting for the right shot, though I had hit all the side stages that day, this one stood out for me., Mick Jones (B.A.D./co-founder of the Clash) was another show I did in 1995. My good friend Bert Masa and I decided to attend the Halsted Street Festival. We had just missed the band Better Than Ezra, but we were able to catch Big Audio Dynamite’s set. Yank Rachell and Jimmy Walker, the elder statesmen of the blues, were among the side stages I visited in 1995 at the Chicago Blues Festival. Blind Pig Records/Dellmark Records recording artist, the late great Eddie Campbell (pictured below), was another in the 1995 series of images I shot that helped pave the way for my next step forward into music photography.
Meet and greet with Ted Hawkins, Chicago Blues Festival, 1994.
Halsted street Festival, Mick Jones (Big Audio Dynamite), 1995
Jimmy Walker.(piano) and Yank Rachell (Mandolin) Chicago Blues Festival, 1995
New Gear: Wacom Intuos Pro M
For years I have edited my images using the touchpad on my laptop (really disliked using a mouse). But since I am transitioning to a desktop in the next couple of weeks for all my edits, my laptop will be primarily used for tethered shoots
For years I have edited my images using the touchpad on my laptop (really disliked using a mouse). But since I am transitioning to a desktop in the next couple of weeks for all my edits, my laptop will be primarily used for tethered shoots, it only felt natural to switch some of my tools. Enter the Wacom Intuois Pro Medium tablet, I had gotten it from one of my favorite stores, B&H Photo in New York.
The medium tablet measures 13.8 x 8.54”, just enough to fit on my desk with my dual monitors, keyboard and a few external drives. while the working area is a spacious 8.82 x 5.83”, plenty of room for me to move my hand around, there are 8 express keys on the outer border of the tablet for creating shortcuts for both Adobe Lightroom cc and Photoshop cc, and lastly, its Bluetooth compatible.
The Pro 2 pen has 8192 Levels of Pressure Sensitivity, tilt-response, and virtually lag-free tracking. there”s 2 positions switch on the pen; (up and down button) to create some more shortcuts. and best of all, its battery-free, so no having to pause from editing images so to charge it,
But just like any new piece of gear, whether its a lens, camera body or software, it is going to take some time to get used to it. I’ll write another blog in the near future once I get the desktop set up, and both the monitors calibrated. Then I can get the tablet set up according to my workflow and do some real edits...
New Gear : Nikon D800 and Tether Tools
At the time when I had blogged my decision to switch, I was still using my trusty Nikon D200 and D2x, both cameras were not supported by Adobe Lightroom for tethered shooting, Capture One did support my gear. As the months passed, I decided to sell off my Nikon D200, convincing myself I really didn’t need 2 DSLR’s anymore: I was still leaning into the Capture One for tethered shooting;
It’s been well over a year since I had written and decided to switch to Capture One software; I have since had a change of heart.
At the time when I had blogged my decision to switch, I was still using my trusty Nikon D200 and D2x, both cameras were not supported by Adobe Lightroom for tethered shooting, Capture One did support my gear. As the months passed, I decided to sell off my Nikon D200, convincing myself I really didn’t need 2 DSLR’s anymore: I was still leaning into the Capture One for tethered shooting; I still had my Nikon D2x.
Well, I thought I was going to keep my D2x until about 2 weeks ago when an had opportunity had crossed my desk that I could not pass up, I found a Nikon D800’s at a very reasonable price and low shutter actuations, around 31k,
Sure the D800’s was a full frame camera with a whopping 36.0 mp, with dual memory card ports and much higher dynamic and color range versus my crop sensor D2x, the main selling point for me was it was compatible with Lightroom cc. So I listed my D2x on eBay the next morning and by that evening it sold; I placed my order for the D800, and headed over tho Tether Tools web site to place my order for my tether cable and a few other accessories.
The D800 arrived first, followed by the tether cable a few days later, I had already set up my strobes for my first real test shoot, using D800, Adobe Lightroom cc, and the newly acquired tether cable and a tether block. (this secures the cable to the camera body with a plate and mounted on my Arca Swiss B1 monoball on the tripod.) This prevents the cable from being jerked out of the camera and cause damage.
First image I shot with the new camera, non tethered, Equipment used: Elinchrom Quadra w/ 1 head in a 35x140cm strip box with grid, Silver 4x6 reflector panel behind subject., Nikon D800 w/ a Elinchron Skyport HS transmitter , 85mm f1.8 , F16 @1/3200
Now the real test shoot came when I connected the D800 to my laptop per the tether cable. communication between Lightroom cc and the D800 took less than a minute (probably less cause I was looking at the prompts that appeared on the screen) I was ready to shoot.
My lovely wife sat for me for this test shoot, which by the way is part of a personal project I have been wanting to do for quite some time. During our session I was quite pleased with what I was seeing on the laptop, I was able to make better decisions on adjusting the amount of light, posing and critical focus.
The 2 images below are from the tethered session, Both images had basic yet minor adjustment done in Lightoom, with the exception of the second image I decided to slightly desaturated just for effect. I kept my set up simple and took full advantage of the high sync on the D800 and Elinchrom'; we shot at F16 with a shutter of 1/3200, using 1 Elinchrom pack and strobe with a socked 17” beauty dish.
And there we have it, this blog was not about one editing software being faster or better than the other, but more about using what I already had with a more updated camera. That’s not to say I wouldn’t want to give Capture one a spin around the block. Who knows, that might be a future blog; Lightroom cc versus Capture One.
The Unofficial Wedding Photographer
After 20 years, I tied the knot one last time; 2nd time only in my lifetime. The ceremony was small, simple. A few close friends and family were in attendance. Everyone pitched in to make our day as close to perfect as possible.
Cover Image By ©Sheena Pendley Design and Photography used with permission
After 20 years, I tied the knot one last time; 2nd time only in my lifetime. The ceremony was small, simple. A few close friends and family were in attendance. Everyone pitched in to make our day as close to perfect as possible.
I have participated as a “unofficial” photographer at a few weddings over the years, gifting my images to the newlyweds as seen in the 2 images below. So when it came to my own wedding it was no surprise I was to fill the roll as the “unofficial” photographer again, Though I was just as happy with a few smartphone images from our guest,
So I set up my gear for a few intimate portraitures of my own of my bride and her family after the ceremony, with the exception of an extra extraordinary friend and fellow photographer we invited, Sheena Pendley, She provided images of all in attendance; We invited Sheena as a guest, as our friend, It was a huge surprise and an honor she provided us with such beautiful images, making herself the unofficial photographer as I have done in the past.
Following the 5 images I shot, I have provided 4 images (aside from Sheena’s cover image) , along with a link to her professional website and the Facebook link to the rest of the images from our wedding that she so kindly shot for us at the end of this photoblog…..Enjoy...
Our Wedding
© Brian Cade Photography: Collective Works
© Brian Cade Photography: Collective Works
I wanted an image with my beautiful bride done with my lighting setup, so I handed my camera to my friend Tammy to get the shot.
Here are 4 sample images by photographer Sheena Pendley, her website and Facebook links are below.
©Sheena Pendley Design and Photography used with permission
Facebook:
Sheena Pendley Design + Photography
Website:
Beating The Odds:: A Story About My Miniature Schnauzer, Milo Pt 2 of
I’ve been in Milo’s life since he was 5 weeks old [he turned 7 years old in July]. In contrast, when he was just a little pup, I would hold him in my arms, with his head on my shoulder and tell him every day how much he meant to me, that I loved him and that where I go, he goes
I’ve been part of Milo’s life since he was 5 weeks old [he turned 7 years old in July]. In contrast, when he was just a little pup, I would hold him in my arms, with his head on my shoulder, and tell him every day how much he meant to me, that I loved him, and that wherever I go, he goes. I would also tell him I’d never abandoned him in some shelter and that I would never let anything bad happen to him. Needless to say, I felt so helpless during his time of need; I almost felt as if I was breaking a promise.
Midnight was upon us, Milo was up and down all night, and this continued into the early morning. I had laid out some blankets next to his bed to be close; I still couldn’t sleep, and every time he slightly moved or breathed, I was at his beck and call.
Milo grew weaker and weaker, with his belly sucked in and very tight, he was worsening by the minute. I began to Google his symptoms, and the only thing I thought it could be was the Parvovirus; I frantically searched through my files for Milo’s medical records to see when I had him vaccinated for parvo, but I came up empty-handed.
It was another two hours until Milo’s other vet would open. I had already decided that I would get Milo to the animal hospital well before the original 10 am appointment. It was just after 7 am when Milo and I hit the road heading to the animal hospital, about a 20-minute ride. I talked to Milo the whole way there, repeating his name to let him know I was still there.
It was just after 7 am when Milo and I hit the road heading to the animal hospital (about a 20-minute ride) I spoke to Milo the whole way there, saying his name over and over to let him know that I was still there.
At the Fairlea Animal Hospital, Fairlea, WV.
At the vet's office, we didn’t have to wait long before they had Milo and me in an examination room. Right away, Milo’s vet thought it was parvo; all the signs pointed to it. However, the area Milo and our two Dachshunds shared was always clean. I always picked up their feces and disposed of it properly. The area was mowed and fenced in—no other animals could get in unless they jumped the fence. Then we discussed what Milo had eaten before he became ill; the only other thing I had given him besides his dry food was some dried cranberries three days earlier. Milo’s core temperature was 97°F. They started running a test on him and putting him on an IV. They said they would contact me later that day.
3 days before Milo had gotten sick, July 28, 2019
Some hours later, the vet called. The good news was Milo tested negative for parvovirus, but they had him on IVs and were still running tests. They were trying to figure out what was affecting him. One possible cause the vet suggested was cranberries. I asked about Milo’s chances of pulling through. The answer was brief: they didn’t expect him to make it through the night; he had lost so much blood and could go into shock at any moment. The vet said that if Milo survived the night, he might face permanent effects on his heart, kidneys, or liver. My heart sank—I could lose him in minutes or hours. I felt I had let him down. The vet said they would do their best to keep him comfortable and would update me sometime on Friday afternoon.
I had been with Milo for the last two days, awake over 48 hours with him. This night was going to be very long for both of us. Milo was fighting for his life. I just wasn’t going to be there for what might be his final battle, win or lose.
It was Friday morning, August 2, 2019. I hadn’t slept again. I went to work that morning, running on pure adrenaline. I hoped Milo had pulled through, but a small part of me was bracing for the worst.
I had been with Milo for the last 2 days and had been awake for over 48 hours with him. This night was going to be very long for both me and for Milo; Milo had a battle on his hands, and I wasn’t going to be with him for what was ultimately the last battle, win or lose.
It was Friday morning, August 2, 2019. Again, I had not slept, and I went into work that morning, running on pure adrenaline. I was hopeful Milo had pulled through, yet a small part of me was bracing for the worst.
August 3, 8:32 am — I received the call I had been bracing myself for all night. Milo had made it through a rough night and was resting. He had drunk a little water and eaten a small amount of food. I was so thankful to the vet and staff for all they had done for him. Milo was going to stay at the hospital another night to ensure he didn’t rebound and to check his blood work. I received several updates throughout the day on Milo’s recovery, and I was very hopeful he was coming home.
Thank you for hanging in there to read Milo’s story. I had no idea what HGE was until I googled the symptoms. Although they were very similar to parvovirus, I knew it was not that.
This disease comes on suddenly and can be fatal if not treated within 24 hours. By the time this disease took full hold of Milo and his vet saw him, that window for recovery was almost closed. I have included some links below to shed light on this horrible disease. Please check them out and read the comments from others who have experienced this with their furbabies. I have also included Milo’s vet and their wonderful staff’s website.
Thank you for hanging in there to read Milo’s story. I had no idea what HGE was till I googled the symptoms. Though they were very similar to the parvovirus, I just knew it was not that.
This disease comes on without warning and can be fatal if not treated within 24 hours. By the time this disease took complete hold of Milo, and by the time his vets saw him, that window to recovery was almost closed. I have included some links below to shed light on this horrible disease. Please check them out and read the comment section about others who have experienced this with their furbabies. I have also included Milo’s vet and their wonderful staff’s website.
“Hero’s don’t always wear capes”
Fairlea Animal Hospital/ Servicing Small Animals
A Blog By Susan Bulanda/ Hemorrhagic gastroenteritis, (HGE) in dogs
A Blog By Susan Bulanda/Hemorrhagic gastroenteritis (HGE) in dogs revisited
South Boston Animal Hospital/What You Should Know About Hemorrhagic Gastroenteritis (HGE) in Dogs
VCA Hospitals/Acute Hemorrhagic Diarrhea Syndrome in Dogs (Hemorrhagic Gastroenteritis)
Beating The Odds: A Story About My Miniature Schnauzer, Milo Pt 1 of 2
Taking a slight detour from any photography and music themed blogs to tell a story of my amazing miniature Schnauzer, Milo and his bout with a life threatening condition called HGE (Hemorrhagic Gastroenteritis) or AHDS (Acute Hemorrhagic Diarrhea Syndrome) which it has been renamed. It’s a life threatening intestinal condition that can effect all healthy dogs, but is common in smaller breeds, such as Miniature Schnauzers and Yorkshire Terriers.
Taking a slight detour from photography and music-themed blogs to tell a story about my amazing miniature Schnauzer, Milo, and his bout with a life-threatening condition called HGE (Hemorrhagic Gastroenteritis) or AHDS (Acute Hemorrhagic Diarrhea Syndrome). It’s a life-threatening intestinal condition that can affect all healthy dogs. Still, it is common in smaller breeds, such as the Miniature Schnauzer and the Yorkshire Terrier.
Milo and his sister (Esme) don’t like thunderstorms.
On July 30th, the day before Milo was affected by HGE/AHDS, he was active like any other dog—playing and eating—showing no signs of distress. The following day began normally. I let Milo out to do his business, and when he came back inside, I offered him his morning Greenie dental treat; however, this time, he refused it. I then prepared his food as usual, but he merely sniffed it and walked away; he also didn’t drink any water, which was unusual for him. Initially, I thought the thunderstorms approaching our area that day might have triggered his reaction, as Milo was terrified of storms and often stayed close to us when one was nearby. I decided to stay home with him that day, and I noticed he was more clingy than usual, following me from room to room. I also observed that his stool was slightly runny. Again, I attributed his behavior to the impending thunderstorms.
As morning turned into afternoon, Milo still had not eaten or drunk any water. He even refused a treat I offered him. I thought he was just scared. By the late afternoon, I noticed Milo began to vomit. The vomit was foamy and contained thick, clear mucus. I saw something that looked like blood in it. I called Fairlea Animal Hospital immediately and made an appointment for him. They scheduled him for 10 a.m. the next day.
By 5 pm, Milo began to become lethargic, as if he were somewhere else. He clearly showed signs of something much more than a fear of storms or an upset stomach. His fur started to feel like straw. His vomit became denser with mucus and clingy to his mouth. By 6:09 pm, Milo wasn’t answering to his name at all, his vomiting was more frequent, and much more foam and mucus in texture. Then by 7:39 pm, His stool was pure blood. It started with him releasing small amounts of this, and within minutes, it was a puddle. Milo got to the point where he could barely make it outside before each episode.
All I could do was assure him that I was not leaving his side, make him as comfortable as possible, and let him know he was loved and cared for. Deep inside, I believe he has always known this. By 11:37 pm, the bloody diarrhea was still nothing but blood; it had a raspberry look about it with pieces of clotted blood, and it was getting worse. By now I was already awake over 24 hours with him, never leaving his side, if he breathed differently than usual I was there, if he got up from his bed I kept mt my eye on him; by 3:47 am Milo was straining, his poor gut to pass a stool, his stomach was tight and pushed in, with every strain, he groaned and grunted. This part of his life was breaking my heart. Milo did try to drink some water, and he lapped up as much as he could. Maybe he was out of the darkness; no sooner than Milo drank the water, he vomited every bit of it along with a precise, slimy mixture, with bits of white looking particles I believed were food he had eaten the day before. The darkness was only beginning.
Test: Pocket Light Meter App For iPhone X Pt 2 of 2
First a little back history on my RZ67, I bought this camera “as-is” last year, the electronics didn’t work, but the camera was still usable at the emergency shutter speed of 1//400th of a sec,
You live and you learn, sometimes the hard way. When I had decided to test the Pocket Light Meter App for iPhone X against my Sekonic L-358 light meter, I also decided to pair it with one of my medium format cameras had not tested; The Mamiya RZ67 Pro.
First a little back history on my RZ67, I bought this camera “as-is” last year, the electronics didn’t work, but the camera was still usable at the emergency shutter speed of 1//400th of a sec, The bad news is that since the cameras electronics were not operable, there is no warning that the dark slide was still in the film back, and unlike my other “manual” medium formats; the shutter button can not be engaged if the dark slide was still in the film back. So during the test, there were a lot of missed shots, I mean a whole lot of missed shots.
My test included the following:
Mamiya RZ67 Pro camera body
Mamiya Sekkor 50mm C lens
Mamiya RZ67 Pro II 120 film back
ilford HP5+ black and white 120 film
Pocket Light Meter for iPhone X
Sekonic L-358 light meter
For the most part of my test. the iPhone app pretty much kept up my handheld meter (Sekonic L-358) The readings for the highlights were point on, the Shadow readings were for the most part about a third off, no game killer though.
As stated above, the test would have been more in depth if I had not forgotten to remove the dark slide from the film back, resulting in many missed opportunities.
Will I trust this app for any future shoots: The short answer is Yes and No. If the shoot is for a client, I would always opt for my trusty handheld meter, personal projects on the other hand, I would switch between this app and my Sekonic.
The next time I plan to use this app will be when I shoot some 4x5 film in the next week or so. I’ll post the results from that shoot soon.
New/Old Gear: Toyo 45G II Large Format Camera
Well, I just added a new addition to my gear box; the Toyo 45G II 4X5 large format camera. I had always entertained the idea of buying a large format for years, within the past month I started looking at the Sinar F and P series, the Horseman 450 series and lastly the Toyo G series.
Well, I just added a new addition to my gear box; the Toyo 45G II 4X5 large format camera. I had always entertained the idea of buying a large format for years, within the past month I started looking at the Sinar F and P series, the Horseman 450 series and lastly the Toyo G series. All amazing cameras, the Toyo G II won in the end, Price and durability were key points in my purchase. Some other key points included:
> Rubberized knobs,
> Metal construction
> Super bright etched fresnel ground glass [ can’t wait to get a lens for it ]
> Revolving non vigneting film back
> Geared fine focus.
> Geared front and rear with fluid axis level
> Independent locks on all movements; front and rear standards, shift, swing and focus knobs
These are just a few of the stand out features that caught my eye.
Next I will be ordering some Ilford HP5+ Film from one of my favorite camera stores; B&H PHOTO in New York. Then next on the list is too research some lenses for the type of work I plan to use the GII for, mainly portraiture. I have 3 brands in mind; Schneider, Rodenstock , and Nikkor W series, something in the 180mm and 210mm focal lengths.
I can already see that I am going to have lots of fun with this large format camera.
Until next time.
Here are “some” of my top must see documentaries/movies ; about photography and/or photographers.
Here are “some” of my top must see documentaries/movies ; about photography and/or photographers.
1. IN YOUR FACE: The Neil Zlozower Story. Tells the Story of Legendary Music Photographer Neil Zlozower
2. SHOT! The Psycho-Spiritual Mantra of Rock: The Story of Legendary Photographer Mick Rock.
3. The B-Side: Elsa Dorfman’s Portrait Photography, First Woman to shoot With The 20x24 Polaroid Camera.
4. Smash His Camera: The Story of Notorious, Reviled Photographer, Ron Galella
5. Hondros: Documentary of War Photographer Chris Hondros, Killed Photographing The Civil War in Libya.
6. The Photographer of Mauthausen: The Film Tells the Story of Photographer Francisco Boix and His Life in The Mauthausen Concentration Camp.
7. Kodachrome:
8. Salvador: A 1986 Drama about the Salvadoran Civil War, Starring James Wood.
9. Photographer Albert Watson: Presented By The Smithsonian Art Museum and The ASMP.
10. Annie Leibovitz: Life Through a Lens
Test: Pocket Light Meter App For iPhone X Pt 1 of 2
So recently I purchased another photography app for my Apple iPhone X; The Pocket Light Meter Nuwaste studios ($10.99). Since I always have my phone with me, I thought it would be a great companion for my gear
So recently I purchased another photography app for my Apple iPhone X; The Pocket Light Meter Nuwaste studios ($10.99). Since I always have my phone with me, I thought it would be a great companion for my gear since I have been known to forget my traditional light meter at home from time to time,
Right out of the gate I noticed setting the ISO, shutter speed and aperture were a breeze on this app. it handled much like my old Minolta spot meter, the downside of the app version is it can’t take 2 separate readings for a combined exposure as in the Minolta spot meter had done. The other thing I noticed was comparing light readings between the app and my traditional light meter fell between a 3rd of a stop for the most part, not a deal breaker, but noted throughout these tests.
I am running some test paired with my Sekonic L-358 meter. Part 2 of this blog will have the final images from these test. As for the gear I will be using; Mamiya RZ67 Pro camera with a Mamiya RZ67 Pro II 6x7 film back, Mamiya Sekor C 50mm f/4.5 lens and Ilford HP5 + 120 film.
I hope to have my film ready to process in the next week or so, and part 2 of this blog written shortly there.
A New Year; No Excuses.
Hard to believe how I allowed time to slip away (again) from me, I had not blogged in about 3 months. A lot has happened since then, mostly with the new house; Acquiring some needed essentials for both my office and Barbara'a quilting room, bookshelves, desk, picture frames etc.
I have a few edits on the table from personal favors I had photographed for friends and family, still, I plan for a few self-assignments of my own that need to be more on the forefront than I have allowed.
lastly, my year ended with the passing of a friend from back home, celebrity and portrait photographer, the legendary Marc Hauser. I am thankful that he and I were able to reconnect through social media over the past 8 years. Marc had been and still is a huge influence on what I had done and plan to do in photography.
Hopefully, January will be the springboard I so desperately need to launch my medium format portrait sessions on film, luckily I still have people still wanting to participate in these projects.
Brian
The Absent August Blog.
Sometime in July, this was the last house the realtor showed us and the one we decided on. August became a very busy month for us, after signing on the dotted line there was a lot of packing to do, a lot of back and forth trips dropping off loads and loads of boxes every night this made the final move easier on us. My August blog was not posted for this reason, and it was worth it, If not for us, but our fur babies; Milo, Esme, and Rascal. They had their own yard to play in.
Front yard, plenty of shade trees.
The Living Room
Taking a break; Milo checking out the yard from inside the house
Barbara giving the dishwasher its first test run.
Backyard, looking from one of the property markers. Babies in their fenced area and try the new mower out; We went Green, Greenworks Pro battery mower.
We fenced a portion of the yard for them to go out, later we'll extend even more for them.
Milo Wants To Help;
storing boxes in the attic.