Tip#4 VIDEO! – Todays tip deals with shooting video on your iPhone, specifically if you want to capture fast moving action shots.  There is a setting on your iPhone that will allow you to change the default video setting and give you the best quality video for those shots when you really need it. 

Your camera’s default setting for video is 1080p at 30 frames per second.  It’s the default because it saves storage space and for most videos it’s sufficient. Most of us never change this setting because it is perfect for viewing on your phone and posting videos on line.    But if you enjoy shooting sporting events or just a day of fast moving action you can change the default setting to 60fps (Frames per second) in 1080p and that will handle most of your sporting event needs and will still be a manageable files for posting online.  I recommend only using this feature for the shots or events you are shooting and then change it back to the default to save storage space on your camera.

To change the video settings: 

Go to SETTINGS – CAMERA – RECORD VIDEO.  You can make your changes there. 

(Don’t forget to change back when you no longer need fast capture)

Shooting 4k Movies to be viewed on a big screen.  Did you know that some filmmakers have used the iPhone to shoot feature films?  When the newer iPhones with better cameras came out, there were film making competitions to showcase the features of the camera.  The 4K setting was designed to give you the best resolution for showing your videos on a big screen.  These files take up a lot of storage so you can’t store them on your phone for long.  If this is a bigger video project, you’ll most likely be using a computer to edit your videos so I recommend transferring them to a hard dive and backing them up and then deleting them from your phone when you’re ready to free up space.   If you’ve ever been bitten by the filmmaking bug, this is an ideal and inexpensive way to take on a fun project.  

Happy shooting!

#tuesdayphototips

Tip#3 Burst Mode. This is such a great feature for shooting action stills! To use Burst Mode, hold down the red shutter button on your screen when you’re ready to take the shot.  The longer you hold it down the more frames your camera will capture.  There’s a little indicator on the screen that will show you exactly how many frames you’ve shot.   To choose the best capture from the bunch, go to your photos, you’ll see one image that represents the burst of photos. Click on that image and then tap “select”: you’ll see all the burst images from that capture.

Tip#3 Quick exposure advice. It’s easier to brighten up an underexposed photo than it is to darken and over exposed photo.  Editing software and all of the photo editing apps can handle brightening up a photo as long as it’s in the ball park of correct exposure.  But if you over expose too much, there’s not enough information on the image and your attempts to darken it won’t be too successful. If you have to err on the side of over or under exposing – UNDER is better.

Tip 5.  CHECK YOUR ANGLE AND AVOID THE ZOOM. 

The angle you choose can say a lot about the photo. 

Give a little thought on the angle you’d like.  Taking a photo of a group from a “slightly” higher vantage point can be a more flattering angle for everyone. For a more extreme angle, try taking some shots from a chair looking down.  For group photos, try not to shoot UP at your subjects.  This is also super helpful when you’re taking a photo of everyone sitting at the dinner table; If you get up higher you can get everyone faces in the frame (no one will be hidden behind anyone else) as well as getting a good shot of the food on the table.   Have them all lean in just a bit and you’ve got a really well framed shot!

For iPhone users, the zoom feature on your phone isn’t very good.  Instead, walk closer to your subjects and frame them perfectly in your screen.  (If you plan to crop your photo to a standard print size leave a little room on all sides – * see tip #4)  Even for experienced photographers with a zoom lens – when you’re zoomed in it’ll create a nice depth of field but you’re also prone to camera shake and blurry photos. Make sure you have a fast shutter speed to avoid the shakes.  But when possible for group shots, don’t zoom and just move closer to your subjects.

I’m doing a photoshoot fund raiser for Strut health clinic in the heart of the Castro in San Francisco.   Strut is a non-profit organization and offers free and low cost health care to the community.  The staff at Strut does some amazing things for our community and I want to be able to do what I love and give back!

Here’s a link for all the information:  PHOTOSHOOT DAY

Joe Mazza wants to take your picture!

Need new head shots? Want to update that Linked in Profile? Queers are always out and about doing things and making waves in the community and often they don’t have professional head shots! Who has the time? Or the money right? Well join us Nov 3rd to get your portrait taken by professional photographer Joe Mazza for only a minimum suggestion of a $25 donation!
All donations go to support Strut and out mission of queer sexual health and wellness!
(No One Turned Away from Lack of Funds)

Come get a serious picture taken, or a silly one! BYOT, Bring Your Own Tiara!

Come sign up, this will be a first come first serve basis, sign up list will not be put out until 10:30am, on the dot. 

•Up to two people per shoot.
•Your shoot will last about 10-15 minutes and will have a variety of poses and crops.
•A link to a private proof page will be provided so you can download your photos 10 days after the shoot. The proofs will be fine tuned for contrast, tone and color, and be cropped 8×10.
•Copyright usage: You are welcome to use any of the photos taken during your photo shoot to promote yourself either professionally or on social media for fun! You may not give permission or license any 3rd party to use the photos for any purpose.
•Wardrobe suggestions: If you just want to have a fun shoot, come as you are and have fun! If you’d like shots to use professionally, we want people to focus on your face and eyes and not your wardrobe so wear solid muted colors that you feel good wearing.

If you have any questions feel free to contact our community events organizer Baruch Porras Hernandez at bporrashernandez@sfaf.org

Planned Route

A leap of faith can take many forms. Sometimes we take them when our survival depends on them while other times it’s a leap to live more fully, more authentically in our lives. I’m taking a little detour from my usual photography posts to write something a little more personal about an experience I had recently that made me think about the little leaps of faith we all take in different aspects of life. I made a decision to take a month off and ride my motorcycle from San Francisco, through the Sierras to tour Canada and then back down the coast. I realized that I had traveled all over the world but I had never been to Oregon/Washington or Canada. It’s the adventure I’ve wanted to do for years.

The trip was more than I could have imagined, not just for the leap of faith it took to leave my business for a full month, but it highlighted how the journey we take after that leap can often look very different than originally thought. It was a metaphor for me about faith, expectations and then letting go, about staying present, open and trusting on the journey.

I’ve taken quite a few leaps of faith in my youth; those leaps seem much easier when you’re young. I was much more fearless. Maybe it was because it felt like, if I failed, I didn’t have as far to fall. When you’re young you feel invincible. I was a bit of a daredevil in my youth, I’ve jumped out of planes, climbed 1,000 foot cliffs, traveled the world and even moved to San Francisco with no job prospects simply because I loved the city. What I loved most about those decisions back then was that every time I made one, it seemed like all the pieces magically fell into place to help me follow through with my goals. As I look back, there was a lot of struggle and hardship along the way but the signs that I had made a decision to live more authentically were always there.

As I got older the fear of taking those big leaps got more intense. They became more about survival than they were about whimsy. Walking away from my business for an entire month was frightening. As a freelance creative person, or any small business owner can testify, there is a paradigm that exists in the way you approach your business; it develops over a long period of time. Unlike a job with a steady income at a big company, the entirety of your income falls on your ability to keep generating it. There are no paid vacations. You are called upon to always be working, thinking, growing and producing new work. Owning your own business is gratifying. It allows you to experience an awareness, a deep satisfaction that you are truly creating your own life but it also makes you keenly aware that if you’re not working constantly you’re not moving forward. Sometimes it’s hard to know when to take a break, to allow yourself to unplug without fear that you’ll be missing opportunities.

Humbolt Redwoods

So the leaps of faith I’ve taken as I’ve gotten older were quite different than the ones I took in my youth. I focused instead on building my photography business. I focused on stability; increasing my client base, on advertising, better equipment and bigger and more creative jobs. While incredibly rewarding, I also felt something was missing, like had lost or forgotten a part of myself along the way; that part of me that took leaps of faith … for whimsy. It has taken some events in my life to shake me enough to realize that life is short; that you also have to seize the moments when you can and live your life more fully.

Kawasaki Versys 1000

On my 50^th birthday I took a whimsical leap; I learned how to ride a motorcycle. This was no small feat for me; I’ve always been terrified of them. Have you ever examined some of your fears in life and tried to trace them to their origin?   When I was seven years old my mother grabbed me, looked me in the eye and told me to stay away from motorcycles; I was never allowed to have one. She had a friend whose son had died in a motorcycle accident and as a mom; she wanted to protect her son. There it was, the origin of one of my biggest fears. A grown man afraid of motorcycles because his mom told him he should be. It’s actually funny when I think about it. But at 50 years old, it was time to face that fear, to at least take a class and learn how to ride. When I made the decision to learn it felt right, all the pieces feel into place but what I didn’t know was that when you first learn to ride it’s about 90% terrifying and only 10% pure exhilaration! But like most journey’s, as time goes by, that ratio slowly changes and flips; peace, freedom and exhilaration dominates the terror and it becomes your happy place and I’ve been riding for over six years now. What I also didn’t know was how much I would absolutely LOVE long motorcycle trips. So this one leap led me to take 2-day trips, then 3 and 5-day trips; each one a stepping-stone in the big decision to take that one month off and ride to Canada.

When you finally decide, I mean really decide to take that leap, whether it’s for survival or whimsy, things began to happen. Once again, just as I had experienced in my younger days, I began to see all of the little pieces that started to fall into place to allow me to go; a few advertising clients and big jobs waited until I returned, a good friend supported me in my preparation to leave, friends rode with me along the way or gave me a place to sleep on the journey. All of my fears about loosing business or not being able to survive began to fade, not right away but they did fade and in their absence was the feeling that I was doing exactly what I needed to do. Just making the decision was the scariest part. Once you decide, it’s not so scary.

Oregon Barn

The trip itself was nothing short of amazing; not just for the scenery or interesting people I met along the way. It was life changing because when it was over I began to see how much the entire experience was a metaphor for taking leaps, experiencing the journey and having it look nothing like you had imagined. It reminded me that there are hardships along the way but staying open throughout the experience allowed me to see the bigger gifts; and those gifts rarely disappoint.

Lava Beds Road

Sometimes, from one day to the next, I didn’t know where I was going to sleep. I was truly making it up as I went. There were days when this kind of gypsy life made me weary but after a while, I began to trust that the perfect spot would reveal itself and it always paid off. The ride through the Sierra’s took me through some of the most beautiful scenery I’ve ever seen. I rode through Lassen National Park, Lava Tubes Monument, Crater Lake and Mt. Saint Helens. It was kind of a “volcano tour” of California. Every one of those destinations felt earned because there is no escape from the elements when you ride; the weather and wind, much like life, are just part of the journey. Riding 200 miles a day on twisty mountain roads on a motorcycle takes stamina. Some days I was feeling strong, balanced, and one-with-the-bike. I love those days! Other days I just didn’t have it, every hairpin turn was awkward for me. You feel every gust of wind, every bump and every uneven surface in the road. In a car you may not notice the thin twisted tar patches that they use to cover cracks in the roadway, but for motorcyclists, we call them ‘snakes’. Every time you go around a curve that’s covered in those snakes is to feel your back tire slide ever so slightly before it eventually grips again on the solid part of the road. This happens over and over and each time, even though you know it’ll probably be ok, your fear and adrenaline spike. There are days when those snakes take their toll on your nerves. This was a daily part of the journey I hadn’t considered when I imagined my trip, but it was those damn little snakes that made me realize that you eventually have to trust, not to dwell on them because while it’s scary, your back tire does find it’s grip, and when you ride around a big curve and see a glacial lake surrounded by old growth forests, the entire struggle it took to get there just melts away.

Crater Lake

The roads in Oregon are packed with huge logging trucks. When you’re behind one you’re being pelted by pieces of bark being blown off of the logs, and trust me, there’s a difference between bark hitting your car windshield and when it hits your leg at 70mph on a motorcycle. When you pass a big semi, there is a back draft that can violently buffet you when you approach it. As you start to pass, that back draft wants pull you into the truck. The only way through is to gun the throttle and get past it as quickly as possible but once I passed it I also realized I could smell the differences between pines, redwoods or spruce trees because you can smell everything on a bike. Then you finally turn off the interstate and on the next road is a volcano turned into the deepest fresh water lake in the country and it takes your breath away.

Hoh Rainforest

On a month long ride you go through some very extreme weather. It can be 45 degrees in the morning and 95 degrees in the afternoon. Those extremes are intense, very uncomfortable but it allows you to pull over, put on or take off some layers and you end up meeting another rider at a rest stop who clues you into a road you may not have planned to take. When you ride in the rain you can feel it on your body, you can hear those raindrops echo in your helmet the same way you can hear them on the roof of your house. If you’re dressed for it it’s not so bad. But in a torrential downpour like I experienced in Vancouver and Washington, it’s terrifying. You can’t see very far because, of course you have no windshield wipers on your helmet and the road fills with water very quickly. Sometimes you can pull over for a little while until it passes but other times, you have to slow way down, turn on your hazards and pray that you wont hydroplane or that a car won’t come up behind you too fast. But pulling over in that rain allowed me to find a fun local diner and try Elk. That rain is why Washington and Olympic National Park is a rain forest. When you finally arrive, get off your bike and walk through an actual rain forest in the rain, it is one of the most peaceful and spiritual experiences you can have.

Rider buddies

Deception Pass

Next time you’re following a motorcycle in your car, see if you can spot the bond between riders; when we pass each other, we give a little wave, an acknowledgement to be safe, that you’re not alone. It’s a comforting gesture and one I always enjoy when I ride. One of my biggest goals on this trip, one that I reminded myself every morning was to stay open to meeting new people and connecting with other riders really added to the experience. We chat each other up at rest stops or restaurants. We are fellow travelers, swapping stories, giving each other tips on great roads to take.  I met some really nice Canadian riders on the ferry from Victoria to Port Angeles Washington that told me about the road to Cape Flattery, the most northern part of the U.S. and another rider and friend that told me to take the ferry to Whidbey Island and through Deception Pass as way of by-passing the logging truck laden I-5 to Vancouver. It rained on that leg of the journey but I got to take my first ferry ride, park my bike at the front of the line and just enjoy the ride. I was able to experience rain on a less traveled road and saw some of the most beautiful views. There is a camaraderie between travelers and when open to it, takes you to some pretty amazing places.

All in all, I rode over 3,000 miles on my trip. I stayed in 20 cities, camped in some amazing spots, made countless detours just for the adventure. I rode further north than I’ve ever been, stayed in a haunted hotel, had to hold up for three days in Portland because of a storm in Canada, found the most peaceful lodge in Ucluelet, BC. The journey, once I decided to take that leap of faith was nothing like I thought it would be.   It was epic, life changing, terrifying, exhausting, exhilarating, peaceful, tedious, sweltering, freezing, wet, beautiful, awe-inspiring, magnificent, strange and wonderful. It was a constant reminder to me that taking a leap of faith and staying open and present on a journey, however it unfolds, will give you more than you ever could have imagined.

I often get questions regarding the copyright laws from clients who’ve hired me for a photo shoot. I thought it would be a good time to clear up some myths and truths about copyright laws as it pertains to photographers. They can seem a bit intimidating at first but here’s a simple way of navigating the “who-owns-what” part of photo shoots.  Before I dive into the details let’s bust a myth; While each photographer is different in how protective they are about their images, photographers build their business’s on their work and integrity.  It’s normal and usual for a photographer to use images they’ve taken in their own portfolios, possibly in print or social media to promote their work but we don’t exploit our clients images and sell them to advertisers.  That’s just bad business.

What is the copyright law as it pertains to photographers?

In simple terms, copyright for photographers means owning property. As soon as a photographer presses that shutter button they have created and own that image. With ownership, they get certain exclusive rights to that property. For photographic copyrights, the ownership rights include:

(1) To reproduce the photograph.

(2) To prepare derivative works based upon the photograph.

(3) To distribute copies of the photograph to the public by sale or other transfer of ownership, or by rental, lease, or lending.

(4) To display the photograph publicly.

When I’m working with individuals or companies, each shoot is different:

Whether I shoot with an individual, a couple or a corporation who hires me to create work for them, I still retain full copyright of those images. However, I do grant them *license to use those photos to promote their brand or their company, to promote themselves or to share their photos with family and friends in print or electronic media. In fact, it’s my sincere hope they are able to use those images as much as they can. That was whole reason for the shoot. So from my perspective and for the sake of promoting my business, use those photos!

What you CAN NOT do is transfer those images to a third party for use to promote their business (with the exception of instances of promoting yourself within that business). The same rule applies to wedding clients. While it may be tempting to give a photo from your wedding to, lets say, the catering company or florist so they can use those photos as an example of their work to promote themselves, it’s not ok to do so without the permission of the photographer. In many cases a photographer will give permission so long as a photo credit and link back to their website is included. But it’s right and proper to seek that photographer’s consent in writing – even via email.

Why do photographers retain the copyrights even if you hire them?:  Professional photographers are dependent on their ability to control the distribution and reproduction of the photographs they create for several reasons. For example, copying a photo without permission, editing their work (with that cool new filter on Instagram), or not attributing a photographer (not making a clear and correct assertion as to who took the photo in the absence of a watermark) can negatively impact a photographer’s professional reputation, the ability to market and advertise their photography products/services their ability to generate an income from the works they create.

Using images you see online: a photographer created every image you find on the Internet and that photographer holds the copyright to that image. Regardless of whether or not you found that image in the public domain, you are not entitled to alter or use that image for your own purposes, with the exception of using an image or images to highlight or promote the work of that photographer (with their permission).  While in some cases your theft of that image will go unnoticed, you are in violation of U.S. copyright laws and are subject to a lawsuit by the copyright holder.   Just don’t do it.

Addendum’s or considerations:  Regardless of whether or not you paid for a photo session, you do not have the right to sell, license, transfer ownership of your images.  However, there are a few addendum’s or considerations that can be added to a contract.

Licensing: * this is different that ‘copyright’. While a photographer will always retain exclusive copyrights to their work, I will often license an image (usually for a fee or in some cases a very specific photo credit) to that company or individual. A license fee is based on the ‘usage’ of that photo.  In the case of a stock photo shoot with a company, the license agreement usually contains a clause that allows the photographer to use the photos in their portfolio to promote their work but not to sell those photographs to other companies.

Privacy exceptions: If I have been commissioned to shoot a more artistic or intimate shoot with an individual we start with a conversation. I get a sense of what they’re comfortable with when it comes to the types of photos I will use in my portfolio. I often enter an agreement with that individual (for privacy reasons) as to the type of images that I will release into the public domain via electronic media and that agreement is put into writing.

Work for hire copyright: This can be a very misleading term but basically, work for hire means that the photographer is a full time employee of a company and creating images for that company.   Work for hire does NOT include working as a contractor for individuals, weddings, events, stock photos etc.; unless there is an express contract written at the time of the photo shoot, which assigns exclusive copyrights to the person who hired the photographer.

While copyright laws can seem intimidating, they do exist to protect a photographer’s work from being stolen and used without their permission. Most photographers like myself, would not be in business if we didn’t understand that each photo shoot and each client is unique.  I understand that if you paid me for a photoshoot, while I may hold the copyrights to those photos and may used them to promote my own work, you’re not going to see them in an advertisement on the side of a bus.   Photographers like myself, build our businesses on referrals and the satisfaction of our clients. It’s important to understand copyright laws, but personally, I want every client to LOVE their photos, to trust that their images wont be exploited and most of all to enjoy working with me.

Here is a link to the US copyright laws:

https://www.copyright.gov/title17/92chap1.html#106

When photographing an event, the job of any great photographer is to get in touch with the energy of the event and use their creative eye and skills to expertly capture memorable images.

My approach to any event that I am hired to photograph is to first, listen to my client. I want to get a sense of what their event is all about; what’s important to them and what kind of images they’re looking to come away with when the day is over.

Each event is unique. Fundraising events require images that will not only capture the energy of the event, but also to give my clients a variety of photographs that will help them promote and market their cause. Weddings come with a list of “must-have” shots – group shots, cake cutting, toasts and visiting family and friends. There is a timetable that you must work with in order to not only capture those images, but to do it in an artistic and interesting way.

Each location is unique and offers it’s own set of challenges and opportunities for amazing shots. Indoor, low light locations yield beautiful moody shots. Knowing when to use a flash and when to let the mood of the location dictate your shots is key. Outdoor, natural light is beautiful at the end of the day but not all events take place in that golden light. A really skilled photographer knows how to navigate mid-afternoon sun and can still produce quality images.

Having the delivery system in place to share the images with your clients is very important. A photographer should be prepared to host images for their clients, allow them to download files (if that’s the agreement you’ve made), give them the ability to share the images with the group and even order prints or merchandise if needed.

When you hire me for an event you get the benefit of years of experience, technical skill, a professional proof site that allows you to order prints (framed or not), and someone that knows how important your event is to you. With the holidays coming up, consider hiring a professional photographer for your next big event!

Contact me for a free consultation and quote!

Because of the overwhelming success of the first season, Sense8 is back and shooting season 2!   This show is like no other I’ve ever been involved with. The sheer scope of it is staggering; 8 months of shooting spanning 9 countries, 10 cities, a large international cast, hundreds of extras, a creative team that is committed to pushing boundaries and making art, and a production team that is one of the best in the business.   This was my second season working with my dear friend Karin and the Wachowski’s, who have been my friends for about fifteen years.   They truly have artist’s souls. Their generosity of heart and their artistic vision inspires anyone who works with them to reach deeper into their own creative selves and to create art with them.

My job for the past two seasons has been to work with Karin and the Sense8 team to capture beautiful, iconic footage of San Francisco, both for the opening montage and as establishing shots for the series itself. For ‘spoiler’ and ‘non-disclosure’ reasons I won’t go into the details of where, what and who we shot over the course of three weeks in San Francisco, but I can speak about the process of shooing B-roll footage for a TV series and what it takes to capture those iconic shots which you may have seen in the series.

Shooting from the outside looking in:

If you’ve ever paid attention to establishing shots in a film, especially the opening montage of Sense8, you’ll notice that there is an ‘outside to inside’ rhythm to the shots. In the beginning of the montage  you’ll see stunning sunrises and sunsets, time laps shots at night; shots that give you a sense of standing on the outside looking into the location. Once we’ve established where you are we can take you on a journey inside of the locations to capture the heart and soul of each city.

From a distance:

Capturing beautiful outdoor shots and landscapes is all about light, and being at the right place at the right time however, not much is left to chance.   All of the locations I shoot have been scouted, assessed for the best light, the position of the sun, and accessibility.

San Francisco offers unique challenges for those types of shoots due entirely to the unpredictability of the FOG.   We may have planned for a beautiful sunrise shot, only to wake up at 4am and have the city covered in a thick blanket of white. Sunset shots present the same challenges. There are days when the fog works with you and you get really dramatic footage, and other days where it’s pointless to even try. For people shots, portraits and fashion, I love the fog. Photographers call it “natures soft box” because it diffuses the harsh sun and produces a lovely even light. But for wide-view landscape shots it’s definitely a buzz-kill.   On days like that, we pivot to the other shots in our list that we are able to capture. Shooting cityscape shots at night can be tricky. There is a small window after the sun goes down called “blue-hour” or “gloaming” light. It’s that half hour window before the night sky turns completely black where you get your best shots. You’ll see more depth in the buildings and landscapes.

A few tips for shooting landscapes in San Francisco:

• Summer is cold, let me rephrase, summer can be freezing here. Bring warm clothes and a hat.
• Always have a tripod if you’re shooting film or if you’re shooting stills in low light.
• Have a buddy with you, someone who you enjoy hanging out with. Photographers with big expensive cameras roaming the city alone at night are very visible targets for robbers and muggers.
• Download this app – Sunseeker. It’s super helpful in knowing where the sun rises and sets in the locations you want to shoot.
• If you’re looking to capture a sunrise shot: Get up early, check the weather and fog report the night before and give yourself plenty of time to get to your location and set up before the sun comes up.

Getting in close:

Capturing the heart of a city for Sense8, is much like capturing the heart of the events I photograph. You look for narratives and energy. For Sense8, we had our narrative in the story so finding people and events that embody the diverse energy of the city was our main goal.

Each neighborhood, especially in a city like San Francisco has it’s own unique community. The Castro is entirely different from North Beach or China Town. This year, we looked at the footage we had captured for last season and tried to cover neighborhoods and events that we didn’t get the year before.   Having a list of all of the events and festivals going on while you’re in town shooting is crucial. You can’t get to all of them but it gives you options when you’re shooting people.

A few tips for shooting outdoor festivals:

• Do your research. See if there are any ‘must see’ events or performances happening so you have a rough goal of what you want to film.
• If possible, time your shots for ‘best light’. Since most festivals begin during the harsh sunlight mid-day hours, try and hold out for the golden light at the end of the day.
• Ask permission. It’s important that you ask permission to film someone. Yes, if they are participating in an event in a public space then they’re fair game. But, if you talk to them, tell them what you find interesting or captivating about them and ask their permission to film them, you’ll get a willing and eager subject and much better shots.
• Look for color, movement and the kind of energy you need for your shots.

On a personal note: I’ve been living in San Francisco for over 20 years now. I moved here at a time when the energy of the city was much different than it is now. You could walk through any neighborhood at any time of day and experience diversity and inclusion.   There was an energy to this city that has seemingly faded away. However, while it may not be as evident as it was before, I can tell you that it’s still there; you just have to look for it.   There are *blogs and publications you can subscribe to that will give you a run down of events happening each week.

• * Some blogs you might find helpful in planning for festival shooting:   HOODLINE.COM  –  SFIST.COM  –  EBAR.COM

In the end, Karin and I got most of the shots on our very extensive shot list. We traveled the bay area, shot in some amazing locations and had a great time doing it. I think we were successful because, while we were organized, planned and scouted ahead, we also left room to bend with the changing weather and a production schedule that was always in flux.

I also came away with a few insights as it pertains to my work with my clients here in San Francisco. Whether I’m shooting B-roll for a film production or capturing brand and location shots for my corporate clients, the approach and work ethic is the same: Truly understand what your client wants and needs for their project. Approach that project with the eye of an artist. Be organized, plan for all contingencies and if need be, be prepared to get up at 4am to create artful images.   Oh, and dress warm!

Two years ago, my very dear friends lost their only son to a freak lighting strike on Venice Beach, California.   The event made national news, as did the passing of their son Nick, a gifted baseball player and an incredibly bright soul who was set to attend USC that year.   The loss of a child, no matter the circumstances, is grief beyond belief – but to loose a child so suddenly and randomly is something I can barely wrap my heart around.

Last week, I was in Los Angeles to witness and photograph how my dear friends, two grieving parents, have channeled that grief into something positive and incredibly moving. They started a foundation in Nicks name and held a Baseball event at Notre Dame High School in the Valley. It’s the school where Nick played baseball and the event was created as a venue for people to come together, play ball, connect with friends and family and to raise money for the Thrive in Joy, Nick Fagnano Foundation. The foundation provides scholarships to USC as well donating money and support to several Los Angeles schools and on going projects to make over classrooms in the impoverished districts of Santo Domingo in the Dominican Republic.

The event at Notre Dame was a moving celebration of life. Dozens of people, including coaches and umpires, donated their time and energy to create events like; baseball clinics for little kids, a lecture for parents on how to support student athletes or to be better coaches for their kids teams, an exhibition game with many alumni and friends, a softball game for older men and women, food, games and a silent auction with excellent items.

When I shoot events, my job is to capture the energy of that event, the heart and soul of what it’s all about. In this case, I didn’t have to search for that narrative it was all around me. It was an absolute pleasure to have been a part of it. My friends, the volunteers and the participants were all there to celebrate the life of an incredible young man, and in his name, help others to reach their full potential.

Click here to learn more about Thrive in Joy, The Nick Fagnano Foundation

To see the full gallery of images from the event – Click Here.

Here are some images that help tell that story:

In keeping with my tradition of featuring photographers that have inspired me, I’d like to call some attention to Garry Winogrand.  You may know his work, especially his famous shot of Marlyn Monroe’s skirt being blown up in New York.  While Garry Winogrand may not be a household name like Richard Avedon, his work to me represents what’s beautiful about “Street Photography”.   Garry Winogrand starting shooting as a freelance photo journalist and his work has been featured in over 30 solo and group exhibitions in some of the worlds most prestigious and galleries.   What strikes me most about his work is that he has the ability to capture such authentic and beautiful moments.  So many of his images, not only freeze a moment in time, but draw me in to each subject.  His images inspire my imagination and make me want to know more about his subjects.

You can read more about his life and work here:

New York Metropolitan Museum of Art

Wikki

New York Times

Some of my favorite images!