Jigsaw Puzzle Project - environmental portraits

[JimW]

The Jigsaw Puzzle Project


I live in a small apartment building in New York City, ten floors and forty-six apartments. We’ve got some characters living here, a great superintendent, and we even get some heat in the winter sometimes. Not enough heat, but you can’t have everything.

http://jimwhitaker.smugmug.com/photos/219075608-O.jpg



I was watching the local news in the summer of 2001. They were showing a building whose entire exterior wall had collapsed, revealing the apartments inside. There they were, all lined up, ten kitchens in a vertical column, one man’s ceiling is another man’s floor, all those people inches apart. It struck me how close we live to each other, sometimes for decades, yet we might never know our neighbors. A couple of weeks later was 9/11, and imperceptibly, we became a little more of a group, and less a collection of individuals. Thinking the time was right, I invited everyone in our building to come to our photo studio (which is a converted apartment in the building), one apartment at a time, to have their portraits made. The concept was to hang all the prints of everyone in our building, at one time, in one space. Those images were made in the fall of 2001, and they looked like this:

http://jimwhitaker.smugmug.com/photos/219080364-O.jpg


I wanted the same exact lighting setup for everyone, so that the lighting would get out of the way and not be an issue, and used b&w film so the color would not distract. We were all out there, exposed, with no shadows to hide in, and the lighting & film choice acted as an equalizer. We ended up with twenty-nine 11x14 fiber prints, and we hung them in our basement hallway, which leads to the recycling room and the laundry room. We had a “gallery opening”, served wine & snacks, and people seemed to really enjoy the project.

http://jimwhitaker.smugmug.com/photos/219393233-O.jpg


-------------------------------------------------------------------------------------------------------

Now, six years later, it’s time to create a visual record of ourselves again, except this time I’m making environmental portraits in the tenants’ apartments, in color.

Here are my goals:
To use only small portable strobes for lighting, as I really need to improve my knowledge of how to use the powerful little things. I am (slightly) more comfortable using studio lighting, so I needed to challenge myself, and this seemed like a good way.
Try to show something of their personality, or something about them.
Show a sense of place.

So, in September of this year (2007), I wrote a proposal and slipped it under the door of everyone in the building, asking them to please consider participating in this project. Here are the results, so far.

1.
http://jimwhitaker.smugmug.com/photos/219378643-O.jpg
screenwriters



2.
http://jimwhitaker.smugmug.com/photos/219378665-O.jpg
artist


3.
http://jimwhitaker.smugmug.com/photos/219378686-O.jpg
artist
(haven't decided which one of her I like best)


4.
http://jimwhitaker.smugmug.com/photos/219378701-O.jpg
editor



There are three light sources; natural light from the windows, regular household lamp lights (incandescents), and Nikon flash units (two SB-800’s, one SB-80DX and one SB-26). My tests determined that the Nikon infrared triggering system would never work, as sometimes the strobes had to be hidden behind walls and pianos etc., and infrared won’t travel through walls and wood. So I used the strobes in manual mode, and triggered them with Pocket Wizards. I also used some diffusion devices, snoots and gobos. The photos were captured with a Nikon D200, with two Nikon lenses, a 14mm 2.8 and a 17-55mm 2.8, and I always used a tripod. I shot RAW files and used a Minotla IV-F incident light meter.

A major goal was to light these pictures with flashes, yet make them look as if they were NOT lit with flashes. However, the immediate problem was that these apartments are dark, I mean really dark. We’re surrounded by taller buildings and we just don’t get much light inside the apartments. You can sometimes see it through the windows, but it doesn’t come inside much. Plus, I was stubbornly sticking to ISO 100 or 200, and never went any higher.

So I broke some rules. I underexposed even though I know you’re not supposed to. And I did my best to fix it in ACR and LAB. So they’re probably noisier than need be. Everything has its price.









5.
http://jimwhitaker.smugmug.com/photos/219378717-O.jpg
pianist


6.
http://jimwhitaker.smugmug.com/photos/219378731-O.jpg
After washing her clothes by hand in the sink, she hangs them on an old wooden drying rack, which is then raised to the ceiling with ropes. All the apartments used to have these racks, but this is the only one left in the building now. (note the cat)

7.
http://jimwhitaker.smugmug.com/photos/219378742-O.jpg
psychologist/women's health advocate


8.
http://jimwhitaker.smugmug.com/photos/219378763-O.jpg
musician


9.
http://jimwhitaker.smugmug.com/photos/220152891-O.jpg
Here I am shooting photo #8.


Any comments re composition, lighting, posing or postprocessing?
All comments are welcome. Thanks. Jim


(The great portrait photographer Arnold Newman once said that making environmental portraits is 50% photography and 50% moving furniture. I couldn’t agree more.)

[evoryware]

Just wanted to say I think this is a great series to view. This is something I'd expect to see in New York Magazine w/ the story. I like #3 more than #2 for an environmental portrait.

[Briggie]

Awesome, Jim!! What a wonderful idea!! I think this kind of project would do wonders to bring a sense of community to apartement dwellers everywhere! Love your technique, lighting! You have a knack of giving us a glimps into everyone's personnality as well as their home!! Lovely set!! Feels like a housing co-op type place!

cheers!
Brige

[saurora]

Jim, this is beyond wonderful. I got chills just reading your story and viewing your results! I have no criticism of your exposures, all the shots have unity in the lighting and I feel you met your goals marvelously. I love the original 'bare' portraits, but renewing the gallery with these wonderful, warm, environmental shots was a fantastic idea. You are off to a wonderful start and I can hardly wait to view the finished project. What a great way to get to know your neighbors.........I would imagine this project has changed the atmosphere of living in this building quite a bit...there just has to be a larger feeling of 'community'. Great job! :saurora

[aktse]

:clap:clap:clap:clap:clap:clap

I believe this series should be seen in a magazine! Wonderful story! And beautiful photos! Truly incredible!

[aktpics]

Wow - the whole concept is fabulous. As far as your technique goes, I am thinking I may start shooting from under a card table. :D

[Elaine]

WOW! What an amazing and inspiring project! I loved reading your story along with viewing the photos and seeing where it all began. I agree that it must make your community life so much more rich. Bravo to you for being brave enough to take on this idea. And bravo to your subjects for being willing. Great, great stuff!!!

EDIT: And as far as lighting goes...it looks superb to me!

[JimW]

evoryware – Thanks for the comments, and I appreciate your opinion on #2 vs #3.

Briggie – Thank you.

saurora – Thanks very much. I have made some new friends in the building because of this project. As far as changing the atmosphere, perhaps a little, maybe moreso after we hang these prints in the basement at the end. But, many city dwellers often guard their private space, likely because we have so little of it.

aktse - Many thanks to you. Who knows? Maybe someday.

aktpics – Thanks. (Borrow a taller card table than I did. Things got a little cramped. :D )


Elaine – Thank you very much. In portrait photography, it is the willing subjects, who understand and appreciate the value of photography, that make it possible for us to do what we do. So I agree with you, bravo to them. I thank them and try to make them feel a part of the project.

[Richard]

Hi Jim,

Glad to read this update on your project. I can't offer any technical advice, as I'm sure you know a lot more than I do. The results so far are terrific. I also can't decide between #2 and #3. I love the clutter and cramped feeling of #2, but you can't see her face at all. :dunno I got a kick out of #6--if it were processed in dark sepia, it would fit right in to the Doisneau collage you mentioned. Plus ça change, plus c'est la même chose. #8 is just too adorable.

Anyway, you are doing great and I can't wait to see more. Any thoughts on how you are going to present the final set?

Regards,

[JimW]

Hi Richard,

Thank you. Yes, I understand about not seeing her face in #2. Perhaps I'll go with #3 instead because of its sense of place.

Ha, yes, I agree, photo 6 would fit into that Doisneau collage. The timing works, as she's been in this building since the mid-fifties. She's the solo poser in the b&w at the top of the post.

We'll hopefully have another gallery night in the basement when the pictures are done. The image sizes are ending up at 10" by about 14.5", and we'll probably mount them on foamcore (full bleed) and put them on the basement walls with velcro. That worked last time with the b&w exhibit.

However, in addition to hanging the prints, I'm interested in at least researching the idea of printing the building big, as Doisneau did (6 feet tall), and putting some of the portraits on it. We'll see. Plenty to do yet.

Regards,

Jim

[Wet Oregon]

Hi Richard,

Thank you. Yes, I understand about not seeing her face in #2. Perhaps I'll go with #3 instead because of its sense of place.

Ha, yes, I agree, photo 6 would fit into that Doisneau collage. The timing works, as she's been in this building since the mid-fifties. She's the solo poser in the b&w at the top of the post.

We'll hopefully have another gallery night in the basement when the pictures are done. The image sizes are ending up at 10" by about 14.5", and we'll probably mount them on foamcore (full bleed) and put them on the basement walls with velcro. That worked last time with the b&w exhibit.

However, in addition to hanging the prints, I'm interested in at least researching the idea of printing the building big, as Doisneau did (6 feet tall), and putting some of the portraits on it. We'll see. Plenty to do yet.

Regards,

Jim:D



Jim: What a story!!!! In both tremendous photographs and descriptive words; I'm sure this is SMITHONIAN, READERS DIGEST and even NATIONAL GEOGRAPHIC material....I love #6 and very jealous of #8--enjoy your endeavor...

Wet Oregon

[Felicia]

This is really cool! I feel like I just got a glimpse behind the walls of the apartment building and explored everyone's space a bit.

[ultravox]

:bow :lust :thumb

[tlee]

Thank you for sharing these images. Very well done--excellent idea!

[JimW]

Wet Oregon, Felicia, ultravox and tlee -

Thank you all very much.

[SloYerRoll]

Hey Jim,

Didn't see this post before.

I'm really glad some of my work helped someone get the shots they needed. Now you know there's nothing intimidating about those strobes, they still carry a huge punch though!

Totally drooling over your gear..:wink Does the magic arm work as good as it looks? (I have a feeling I know what your answer is already)

I think your idea is great! I've often mentioned to my friends about not even knowing our neighbors. It's great to see someone that's stepping out of the comfort zone and getting to know ppl.

Warm regards,
-Jon

[JimW]

Thanks Jon. Stepping out of the comfort zone is a good way to put it. That’s what you did with your lighting blog. And it’s true about these portraits too. People are sometimes a little wary about agreeing to be in this project. It’s not a comfortable thing to do.

Does the magic arm work as good as it looks?
Since I’m not the least bit mechanically inclined, I have found the “gripology” aspect of photography to be the most challenging. (I didn’t even know gripology was a word until I was told I would have to learn it.) I sat and stared at that magic arm for a year before I could figure out how to use it. In the end, it wasn’t necessary to figure out how it works (thank God). I finally stopped trying to understand the directions and just used it. It works, and it’s an amazing thing. Now that I’ve used it, I’m finding that I don’t need light stands as often. Super clamps and magic arms used to sit unused in my bag. Now I’m starting to use them, and it all gets easier each time. It’s changed my workflow, which now makes more sense.
-find a composition
-where do I want the light?
-set up the lighting stuff
-direct the subject

Previously, the composition was limited by the lighting setup. Understanding a little about gripology frees me to put the light stuff where I want it, at least more so than before. The lighting setup gets easier and faster, giving me more time to deal with the people. In the end, it’s that last part, dealing with the people, that will have the greatest effect on the final image. While I love thinking about lighting and setting it up, it’s my goal to spend less time lighting and more time talking with the subjects.

Thanks again for helping me towards my goal.

Cheers, Jim

[SloYerRoll]

Very cool, those two toys have just advanced to the head of my list. I find myself always wanting to put light where it's a major hassle for me.
This won't help me take better pictures, but it will make lighting them easier!

Can't wait to learn gripology!

Cheers,
-Jon

[JimW]

I've completed the next three portraits.


10.
http://jimwhitaker.smugmug.com/photos/222799610-O.jpg
vocal coach/opera singer



11.
http://jimwhitaker.smugmug.com/photos/222799637-O.jpg
singer/actor



12.
http://jimwhitaker.smugmug.com/photos/226143735-O.jpg
photographers


I hope to have a few more in a couple of weeks.

[Elaine]

Wonderful! Really great stuff. So inspiring! Thanks for sharing this project with us.

[schmoo]

Awesome project Jim and I'm so pleased that you've come so far. I remember seeing the photo of the artist at her drafting table about a year ago on here and it really got me thinking about lighting.

You have a lovely collection of apartments in that building! Can you hear the opera singer through the walls? :lol3

[JimW]

Thanks Elaine and schmoo. I appreciate it.

schmoo, I see that you're in Ballmer and that you have an interest in old buildings. I think it's a great city for that interest. We have a friend named Greg Otto, who is an extremely talented local artist, and a wonderful human too. He paints Baltimore scenes, and his work is in huge demand. Imagine a painter making it big, out of Baltimore! Cool. Thought you might be interested in knowing about him, in case you don't already.

http://www.historicbaltimore.org/history/gregotto.htm

We also love the Cafe Hon. Been there?

Jim

[schmoo]

Thanks Elaine and schmoo. I appreciate it.

schmoo, I see that you're in Ballmer and that you have an interest in old buildings. I think it's a great city for that interest. We have a friend named Greg Otto, who is an extremely talented local artist, and a wonderful human too. He paints Baltimore scenes, and his work is in huge demand. Imagine a painter making it big, out of Baltimore! Cool. Thought you might be interested in knowing about him, in case you don't already.

http://www.historicbaltimore.org/history/gregotto.htm

We also love the Cafe Hon. Been there?

Jim
Greg does fantastic work!! Every painting of his is instantly recognizable to anyone living here :D

I hadn't known about it before but I'll be spreading it around. :thumb

I actually haven't been to Cafe Hon in at least a couple of years, I think before they expanded. The Avenue has had such a revitalization and it's even so different from when I used to walk there in-between classes as an undergrad at Hopkins!

[gefillmore]

8.
http://jimwhitaker.smugmug.com/photos/219378763-O.jpg
musician

here it is!-

I love it!-

[1pocket]

I missed these earlier, too. Wow!! What a great idea, and my goodness, you are doing a bang up job on the shoots!!!

I recently spent 5 days in NYC staying with a cousin in a NY apt building -- maybe about 15-20 floors which helps me relate a tiny bit. (I live in the woods, but we have the same neighbor disconnects out here, unfortunately :(


Thank you for letting us feel like we know your neighbors a bit!

[JimW]

-thanks-George-,-:-

Steve - Thank you. I checked out your NYC gallery, very impressive. Looks like you're committed to photography. Library, subway car & platform, observation deck, snow, street at night. It's good to see that kind of effort, and all in 5 days! Nice work.

By the way, I'm a New Englander and Sox fan. :D

[DavidS]

How cool! What a great project.

[Cuties02q]

Wow what a great project I love it!!! #3, #6 and #8 are my favs thanks for sharing =)

[Zanotti]

Wow! I just caught up with this and really enjoyed it. It feels lke a perfect book. All the people are so real, with just enough of an interesting story to make you want to learn more.

Have you considered at least a Blurb type book for the entire building? What a great colllection - I want to know more of the stories behind who they are.

Z

[JimW]

David S and Cuties – thank you.
Zanotti – Thanks. No plans yet for a Blurb type book, but I’m only about halfway through. After it’s done, then we’ll see.
Schmoo – I just noticed that some time ago you asked if I can hear the opera singer through the walls. Yes, and the radio hidden in the lobby, and the piano player on the first floor, and the guy that practices his trombone on the 2nd floor, and the garbage trucks, and the helicopters – tons of helicopters since 9/11, and the car alarms etc etc. Noisiest place I ever heard. When I win the lottery (which should be anyday now), I’m movin’ to the quietist place I can find.


Here’s the next batch of environmental portraits from my building. Things slowed down for the holidays, but it’s picked up again lately. The project is going swimmingly and the cooperation has been fantastic. I’m learning lots about photography, but also how to trick kids and cats. Here are a few other observations:

-I’ve discovered the 14mm Nikon lens used for some of these shots is really not that good. It’s sweet and sharp enough in the center but turns to oatmeal around the edges. You can see this in photo # 14. So I try to use my 17-55 lens if it’s at all possible. Whenever I have to use the 14mm, I make sure to keep the faces toward the center. (I borrowed the lens from a friend. Some friend huh, loaning me a lens like that?)

-I’ve had to learn to talk to the subjects while finding a composition and setting up the lights. This has not been easy, as I can only do one thing at a time. I can talk. Or I can do photo math. Doing both at once hurts my head. But as with anything, practice helps.

-Snoots and gobos are very useful.

13.
http://jimwhitaker.smugmug.com/photos/239947654-O.jpg
alternate of photo 12


14.
http://jimwhitaker.smugmug.com/photos/239947581-O.jpg
photographers - We have two apartments in the building. Photos #12 and #13 are in our studio/darkroom. And this one is our home, taken from the kitchen pass-through while Kathy does her 6 am yoga.


15.
http://jimwhitaker.smugmug.com/photos/239947616-O.jpg
psychiatrist (the guy, not the kid)


16.
http://jimwhitaker.smugmug.com/photos/239947597-O.jpg
loves to travel the world (solo at 87 yrs)


17.
http://jimwhitaker.smugmug.com/photos/239947637-O.jpg

She is a singer, specializing in 17th and 18th century music, and voice teacher. He is a computer programmer and has a career as a musician, playing lute and theorbo. (The cat, however, hasn’t really done much.) Mom had a baby girl, her first, about two weeks after this photo. Cat not pleased.

[BELphotos]

I just happened to be browsing the forums today and came upon this great thread. Having grown up in NYC, I can still smell the cacophony of aromas in the halls at dinnertime; not always a pleasant experiance.

The composition of your photos is extraordinary and brings out the essence of your subjects. In the foreground of my minds eye I can see the spectacular colors of the images, and in the background of my minds eye I see these same images in the B&W style of LIFE Magazine. If LIFE were still alive, no pun intended, you would certainly be a contributor.

Your photography and storytelling complement each other very well. Please announce when the project is complete; gallery or book.
Bruce

[JimW]

Sincere thanks Bruce. I know what you mean about the aromas. Walking down a few flights of stairs, you can smell pot roast on one floor, cabbage (yecch) on the next, cookies on yet another (stop and tie my shoes there) and finally something unknown that makes you hurry along. :D

Being a huge fan of the black & white masters, I am humbled by your comment re LIFE Magazine. Kathy & I still love black & white film, and print continuous tone fiber most weekends in our wet darkroom. So we still feel close to those days.

<<< Please announce when the project is complete; gallery or book. >>>

I promise to do that. Thanks very much.

Jim

[gus]

Jim...you are a photographer. Thankyou for showing these.

[LCD]

congratulations! You are creating something that most of us only dream about; something meaningful and enduring. These photos combined with your story and captions will touch people long after we're gone. And what a wonderful gift to your community.

I'm awestruck. I too will be looking for updates and the announcement of the final completion.

And, I like #3 much better than #2. Her back is too much of the focal point in #2. When I went back for a second look I noticed many more details in the shot, like the her profile in the mirror, but #3 lends much more to the noticing of details.

I like the way you used mirrors in some of your other shots too - among many other things.

I liked 12 better than the alternate because if seems to fit the project/theme of showing the actual people.

What a wonderful project!! :lust :lust

Lisa

PS, just a technical question. If you have to underexpose some of the shots and then push them to the point of noise in pp, why not change your ISO to 400 or 800? you might end up with less noise? many dslr's are pretty good at higher ISO's??

[zoomer]

Neat stuff.
A fun series to look at.
I think you did a nice job with these.

[kejago]

This is just brillaint! What a great project. I really like the way you captured all the people. To me, the shots have feeling and you get a sense of who the people really are. Not just a face in a photo, but a real person.

Thank you for taking the time to show us. :thumb

[JimW]

Thanks to Gus, Lisa, zoomer and kejago.

<<<These photos combined with your story and captions will touch people long after we're gone.>>>
Lisa, funny you should say that. In the proposal that I slipped under everyone’s door, asking them if they would consider participating in the project, the last two lines are “In the time it takes the wind to blow, we’re all gone and there’ll be a whole new set of people. Let’s leave a record.”

<<< And, I like #3 much better than #2. >>>
Thanks for the feedback. That seems to be the consensus, and I agree.

<<< I liked 12 better than the alternate because if seems to fit the project/theme of showing the actual people.>>>
I understand and agree, although we may hang them both in the final show.

<<< PS, just a technical question. If you have to underexpose some of the shots and then push them to the point of noise in pp, why not change your ISO to 400 or 800? you might end up with less noise? many dslr's are pretty good at higher ISO's??>>>

Really good question Lisa. My short answer is three reasons:
1)While many dslr’s are good at higher ISO’s, mine is not (Nikon D200)
2)To lessen the impact of reflections and harsh shadows
3)To keep these photos from looking too flashed.

And the longer answer:
Last August, when this project began, I did some tests at 400 and 800 ISO, and found substantial noise, especially in the ¾ tones and darker shadows with detail. So I ran Noiseware, which did a great job of removing it. However, the (what I call) local contrast was mushy in those areas, with poor separation of similar tones. However, when I set the ISO to 100, and then pushed in ACR and brightened in LAB, the shadow detail was crisper and the separation of tones was better.

I am aware, from reading Andrew Rodney and Jeff Schewe, that when a dslr captures six stops of range, half of the 4096 levels are devoted to the brightest stop, half the remainder (1024 levels) are devoted to the next stop etc. So I can’t deny that you are right that the numbers say that I should not underexpose. However, perhaps my workflow is not up to par, or different somehow, and is changing the result. I trust my eyes, and my results showed better separation of tones with my noisy D200 when I kept the ISO low (100 or 200), versus shooting at 800.

Also, in these small apartments, I’m constantly dealing with reflections and harsh shadows from my lights. If I crank the power up on my lights, the hard shadows on the walls etc. get much worse. So I’m trying to minimize them in the capture. My intentional underexposing does minimize them and makes them easier to eliminate.

It’s soon to become a moot point. I have just received a glorious gift of a new D300 from Kathy for my birthday (more than I deserve). I understand this camera is much less noisy in the shadows. So, I hope to abandon my intentional underexposing, and crank up the ISO if necessary.

Jim

[saurora]

Also, in these small apartments, I’m constantly dealing with reflections and harsh shadows from my lights. If I crank the power up on my lights, the hard shadows on the walls etc. get much worse. So I’m trying to minimize them in the capture. My intentional underexposing does minimize them and makes them easier to eliminate.

It’s soon to become a moot point. I have just received a glorious gift of a new D300 from Kathy for my birthday (more than I deserve). I understand this camera is much less noisy in the shadows. So, I hope to abandon my intentional underexposing, and crank up the ISO if necessary.

Jim I disagree with you. I believe you DO deserve Kathy's gift of a new D300!!! However, your recipe seems to work splendidly and I'm not sure I'd mess with it until the project is done!!! I'm sure you will enjoy what the D300 can do. I know I recently put my new Canon 40D (an upgrade from the 20D) to the test and did some shots in the hospital documenting the birth of my great-nephew. I understood the dynamic range was supposedly greater in this camera, but I was blown away by how well it handled varied light sources and harsh shadows. I also was thrilled not to spend so much time in PS!!! Enjoy!! These are great shots....I could stare at them all day.

[saltydog]

Jim,

Although I am not even originally from this country, I've lived in NYC for over 13 years and consider it "home" more than everywhere else.

Your pics gave me goosebumps of joy and made me realize why I miss living there so much. I find your photos, not to mention the entire project, incredibly moving and I think that you have a fantastic and very creative eye.

If you have another show, please let me know when it is as I honestly would love to stop by!

Cudos to you and :clap:clap:clap:clap:clap!
Jana

[ChatKat]

This is the kind of story that is made from real life. What a wonderful glimpse of people as they are. Well thought out and planned.

I absolutely love this series. People are my favorite subjects - with infinite possibilities. You have really captured something worth publishing. I hope that the NY Times or similar picks up on your project. Have you pitched it to them? Certainly worthy of a publishing - Blurb or otherwise.

[JimW]

Saurora – Thank you for your support. I’ll try not to mess up the recipe. :D Can’t wait to try out my new D300. I’m waiting for RRS to make an L plate for the D300 grip, as for some reason I can’t even start shooting with it until it has one of those things. (Guess I’m an all or nothing type).
<<< I also was thrilled not to spend so much time in PS!>>>
I hear that. After getting CS3, and after reading Andrew Rodney’s advice to use ACR for as much as possible, I took his advice and have already managed to reduce time spent in PS. If the D300 allows me to reduce it further as your 40D has, all the better.

Jana – Thanks very much. When it’s finished, you will be most welcome to come and see the show. I’ll let you know when, but can’t see the show happening until maybe June or so. The scheduling is the hardest, as people are busy, and the whole concept is outside of people’s comfort zone. I don’t want to push them, since I live here. Anyway, there’s no rush. If it takes a whole year, then so be it.

Kathy – Many thanks. People are my favorite subject too. I read somewhere recently that we like to look at people’s faces because we think we’re going to learn something from them. Interesting. I enjoy environmental portraits because they inform us so much. Including the environment in the portrait answers some questions but also raises many more, and it’s such an important part of storytelling.

Just finished processing the next three:

18.
http://jimwhitaker.smugmug.com/photos/246947055_FAuuu-O.jpg
in software biz


19.
http://jimwhitaker.smugmug.com/photos/239947625_wgvrH-O.jpg
he's a wine dealer, she's in retail


20.
http://jimwhitaker.smugmug.com/photos/246947072_6oct7-O.jpg
physical therapist


I am trying not to get too sappy with stories about these people. There’s plenty of happiness, sadness and trouble in the lives of the people here, just as there is anywhere else with any group of people. But I must share one small story that just happened here.

Not all supers (superintendents) live in the building that they keep running, but ours does. He and his wife have been the heart and soul of this building for almost 50 years. They were both raised right here in this neighborhood and were childhood sweethearts. They raised their family here. Our super is the salt of the earth, and there isn’t anything anyone here wouldn’t do for him.

One month ago his wife passed away after an illness, and it hit the building pretty hard. The wake was at the funeral home on the corner of our block. The service was at the church right across the street from our building.

Our neighborhood, while it was a little funky in the 70’s, has come back and is fairly safe now, with some beautiful prewar european style buildings and there are always lots of people around. But still, it’s New York, you know, so there’s plenty of crime to go around. No one would consider leaving anything outside that they didn’t wanted stolen, especially overnight. One joke that came out of the garbage strike in the late 70’s was that the way to get rid of your garbage was to giftwrap it and put it out in the hall. It’d be gone in ten minutes.

Anyway, after our super’s wife’s funeral service, they put two bouquets of flowers outside our building, by the front door, to say that our building has lost someone. Those flowers stayed outside for a week, night and day, and no one touched them, not even the punks.

http://jimwhitaker.smugmug.com/photos/252830112_iCkL4-O.jpg

[jenweavernj]

I so enjoyed this series. It really moved me somehow. I wish I lived in a community like this and could do a project such as yours. Wonderful idea executed perfectly!

Thanks for sharing this series. :clap

[NomadRip]

This is the kind of thing I'd expect to be reading in a magazine. Thank you.

[JimW]

Jen & James - Thank you.

Hello again. The Jigsaw Puzzle Project continues. I’m back with some more environmental portraits of people in my building.


21.
http://jimwhitaker.smugmug.com/photos/275464025_yPyTe-O.jpg

These are the same people as photo #19. They were so cooperative that I asked them if we could shoot a sunrise photo at the same place as the twilight photo #19. So on a cold Sunday morning in February, they made a complete breakfast and set the table for the 6:00 a.m. sunrise.




22.
http://jimwhitaker.smugmug.com/photos/275464036_BQUS2-O.jpg

Grandmother





23.
http://jimwhitaker.smugmug.com/photos/275464050_dMgFA-O.jpg

The tenants are the ones standing. She’s a freelance creative director for a fashion catalog. He’s in the audio/visual business.

[JimW]

I’ve been asked how much of the lighting is ambient light and how much is from my Nikon flashes. So I’m posting some photos taken before I turn on the flashes to demonstrate the difference.


http://jimwhitaker.smugmug.com/photos/275464062_2G6JU-O.jpg
This first photo shows ambient light only. This is the Nikkor (2.8) 17-55mm lens. Exposure is 1/20th at f 5.6 at 200 ISO for all three photos. Metering was done by pointing an incident meter out the window.




http://jimwhitaker.smugmug.com/photos/275464070_XkH97-O.jpg
This second photo shows the same exposure, but with 2 Nikon flashes turned on, with a 3:1 ratio. The flash on the far right, just outside the frame, is set one and a half stops brighter (3 times as much light) than the flash on the far left, just outside the frame. The dark wood bureau needs some more light on the front of it, so I set up a third flash with snoot pointed at the bureau, which you can see in the next photo.



24.
http://jimwhitaker.smugmug.com/photos/275464082_TLmFZ-O.jpg

This is the final image. She’s an actor and teaches public speaking to corporate types. We tried several different yoga positions for this shot. Well, when I say we, I mean mostly her. :D

[JimW]

One more example of lights off/lights on.

http://jimwhitaker.smugmug.com/photos/275464094_s5uUH-O.jpg

This first image shows the scene the way it photographed in the camera without turning on the main flashes, but with the following light sources:
-Natural light from a window slightly illuminating the hallway at back left.
-Natural light from a window in the bathroom at back right.
-Natural light from a window just outside the frame to the right is illuminating the clothes hanging on the door on the right.
-Lamplight from the lamp by the bed.
-Television reflected in the mirror over the bed.
-One Nikon flash with snoot directed toward the dark wood drawers by the bed.

Before turning on any other “main” flashes, I wanted to get the snoot pointed in the right direction. It’s a lot easier to see the snoot light on the camera LCD if the other lights are off. As you can see in the first image, it’s not pointed exactly at the drawers yet (It’s a little too low and too far left).

But then the cat settles down on the bed, so I ask the tenant “Will that cat stay there?” “No”, she says, “as soon as your lights flash, it’ll take off.” So I pop the lights, and get this:


http://jimwhitaker.smugmug.com/photos/275464108_8dVDD-O.jpg

The cat doesn’t move. So I ditch the idea of pointing the snoot at those drawers, and instead I move the light stand with snoot over to my right, pointing the snoot right at its little cat face. I turned on the hall light (back left) and the bathroom light (back right), called the roommate to stand in the doorway, and gave directions to the humans while waiting for a good image to come up on the television reflected in the mirror. The cat stayed there while I shot fifteen frames or so. I found one frame where the image on the television, the cat, and both humans were all good. The rest is postprocessing. Here is the final choice.


25.
http://jimwhitaker.smugmug.com/photos/275464117_eAm43-O.jpg

editor and writer

I hope this is helpful and that it shows most of the light is from the flashes. There just isn’t much ambient light inside the apartments. One way to look at it is like this: In the capture I’m trying to light everything in the apartment as much as possible while still trying to reduce shadows, although they are inevitable. Then in post processing, I’m trying to selectively reduce the light to achieve a more interesting and less flat look.

All comments and questions are welcome.

[RBrogen]

Wonderful set. If there was anyway to reshoot #2 and have the artist look more to the left so that her face can be seen in the mirror I think the composition of this one is much better. #3 seems too busy and ditracts from the artist.

[Elaine]

Wow! More amazing shots! And thanks so much for sharing your process. That made a great read with visual aids. What a fantastic thread this is! Great job!:clap

[Angelo]

Jim:

I don't know how I missed this thread before now but certainly glad I've found it. Absolutely amazing captures and stories and your running commentary on the set-ups are priceless.

LOVE the two self-portraits and the funerial bouquet saga. I also grew up in NYC and can relate to the sense of compartmentalized neighborhood tenants of a small building feel towards each other.

May I ask what part of the city this is?

:thumb

[JimW]

Randy - Thanks. Those were taken last August so no reshoot, but I appreciate your comments.

Elaine - Thank you kindly for your continued support! :D

Angelo - Many thanks for your comments. We're in Manhattan on 107th between Amsterdam & Bway. A friend visited us recently from the midwest suburbs and after a couple of days declared that our building (or city life in general) was a "rabbit warren with too many locks." You can probably appreciate that we had a good laugh, and then had to agree he was right.

Jim

[Angelo]

Angelo - Many thanks for your comments. We're in Manhattan on 107th between Amsterdam & Bway. A friend visited us recently from the midwest suburbs and after a couple of days declared that our building (or city life in general) was a "rabbit warren with too many locks." You can probably appreciate that we had a good laugh, and then had to agree he was right.

Jim

Ahhh, Morningside Heights! I thought it might be. As a Columbia alumni I know the area well!

[JimW]

<<< As a Columbia alumni I know the area well!>>>

Ha. Well then, I'll say hello to our neighborhood for you. :D

[JimW]

Hello again fellow Dgrinners. Here’s the next batch of environmental portraits of people in my building. I’m hoping to wrap up this project soon, so there will probably be just one more post in a few weeks.


I’ve started working on putting together a Blurb book of this project. For the book, I want to include photos of our building. In order to get a good photo of the front of our building, I managed to get into the building across the street. After I got in, I put a note under the door of the apartments on the 4^th and 5^th floors (our building is 10 floors, so that would put me roughly half way up). The note explained this project, and asked permission to shoot our building from inside their apartment. One nice tenant answered my note. Over the next several days, they invited me in twice at the times I requested, 8:30 am and 9:30 pm. That’s how I got the photos of the front of our building in this post. It’s great when you find people who are willing to go out of their way to help with some stranger’s creative endeavors. I thanked them, and left them with a bottle of red. Cheers, Jim.



http://jimwhitaker.smugmug.com/photos/307893749_XVfGJ-O.jpg
that's our building on the right




26.
http://jimwhitaker.smugmug.com/photos/307834530_VCSaA-O.jpg





27.
http://jimwhitaker.smugmug.com/photos/307834512_FmYBn-O.jpg





28.
http://jimwhitaker.smugmug.com/photos/307834552_KJ8Um-O.jpg





29.
http://jimwhitaker.smugmug.com/photos/307834569_ijBM2-O.jpg






http://jimwhitaker.smugmug.com/photos/307859613_bVKLN-O.jpg

[ulrikft]

Really, really great set! Great texts too :) Superb technical, great intention!

I take my hat off :)

[jasonstone]

:bow Wow - just wow - I am literally speechless right now.
Superb photos, incredible feeling of really being there and understanding those people.... I could see bits of me in some of those photos it felt so real - the emotion etc.

Thank you very much for sharing this - truly this is one of the best threads I've read on any forum.

Cheers, Jase

[Richard]

Another great set, Jim. :clap:clap:clap A few specific comments and a couple of nits.

#26 is sensational. It is witty and perfectly exposed. I love it. :bow

Something is bothering me about the sky in #27. Maybe too saturated? My eye was drawn immediately to its strong color, and I don't think that's what you want. :dunno

#28 is wonderfully composed. And I am envious of all those books. This is environmental photography at its best. I'm not sure I like the abrupt drop off of light in the middle of the guy's shirt. Was that intentional?

Of the two building shots, I prefer the second, as you can just barely see a few things through the windows. I'm guessing that these two will mean more to the residents than to the rest of us.

Thanks so much for sharing these. It's a fascinating project to watch.

Regards,

[JimW]

Ulrik, Jase & Richard – Thanks very much for your comments, I really appreciate it.

Richard – Comments and nits are welcome and helpful. Yes, I know what you mean about the sky in #27. I went back and checked the original captures, and the sky really was a deep blue like that. It was twilight, and I set the camera exposure to get the sky where I wanted it. There was no funny stuff in the sky, meaning I didn’t enhance it or saturate it at all. However, there’s a thing I call “sRGB blue” that I think might be happening here. I process these in Adobergb the first time through to make ink jet prints. Then I convert to sRGB and reprocess for my website and for here and for the blurb book. Upon conversion, sometimes a twilight sky will look boosted as this one does. I call it “sRGB blue” because I never get that color in print, only on a backlit monitor. It’s close but not quite as … “Polaroid” as it looks here.

Regardless, if it distracts from the portrait then you are right, it’s not what I want. A similar thing is happening in the trees in #29. That green color looks fake. However, it’s not. No funny stuff there either. That tree had just burst it’s buds and bloomed two days before this shot, so they were young and fresh leaves struck by early morning sun and that’s the color they were. I haven’t decided what to do about these issues yet. Still pondering. Is your suggestion that I desat the blue sky?

Re #28, yes, you spotted the long snoot light from the flash to left of camera. Believe it or not, it has been improved from the capture. Just not enough, I guess. That shoot was very difficult and I am loath to go near it anymore. But I appreciate your pointing it out as sometimes I get too close to these to see them objectively.

<<< I'm guessing that these two will mean more to the residents than to the rest of us.>>>
I think I sometimes value pictures based on how much I had to go through to get ‘em, which is certainly not the right criteria to use. So those look good to me. But if they’re just “eh” to others, that’s helpful for me to know. Thanks again.
<o:p> </o:p>
Jim

[Richard]

I haven’t decided what to do about these issues yet. Still pondering. Is your suggestion that I desat the blue sky?

I suppose the most important thing for this project is how the colors will look when printed. If the sky doesn't overpower the scene in print, then it's not a problem. I am looking at the pics on an uncalibrated laptop...it's a pretty decent display, but it's possible that it's exaggerating the problem. I have seen that very strong blue around twilight...perhaps part of my reaction was because there are no electric lights visible outside, so my time of day sense got confused. In any event, I wouldn't hesitate to adjust the color if it improves the pic. Ironically, sometimes we have to adjust reality to make it look real.

[schmoo]

Jim, you've done it again. I absolutely adore this project of yours, even though I don't live in your building. I'm kind of wishing I did, now!

Please drop a link in here when you've got the blurb book done. I'd love to get a copy. :thumb

[JimW]

Richard,

<<< Ironically, sometimes we have to adjust reality to make it look real. >>>


Yes.


“this is not real, this is a picture of real.” :D<o:p></o:p>

[JimW]

Thanks a lot Schmoo, I'll be sure to do that.

[Cuong]

You're capturing the better side of humanity. Thanks for sharing your wonderful work. It certainly helps balance out the terrible stuff we have to hear and see everyday.

Cuong

[saurora]

Jim, I'm going to be realllllly sorry when your project is over!!! This has been the greatest thread to watch. Another great set! My fav is probably the couple with all the books, but it's just so interesting to see the variety. I hope you'll find a new project to keep us entertained when you are through with this one!!! :thumb

[JimW]

Cuong – Thank you.
Susan – Thanks so much, glad you’ve enjoyed it. I’m not sure what I’ll do next, but after processing all these color images, I might have to switch back to black & white for a while. Also I think it’s important for me to keep using and building upon what I learned, so it doesn’t all leak out, you know? So, we’re walking over to the Met Museum for a couple hours every Friday evening to stare at portraits to see how those old painters rendered people. For instance, we learned that Degas was influenced by photography, and his compositions were considered radical for the time because of that influence. Wait, I forgot where I was going with this.:D:D


Here are the final images from this project. We’ll have a print show in our basement sometime after Labor Day, and I’m still working on trying to put together a Blurb book. If that happens, I will post a link here as promised.


#30
http://jimwhitaker.smugmug.com/photos/324697297_47WBw-O.jpg
Newlyweds who moved in to the building that day.






#31
http://jimwhitaker.smugmug.com/photos/324242263_DyjMB-O.jpg








#32
http://jimwhitaker.smugmug.com/photos/324242230_vLxPU-O.jpg








#33
http://jimwhitaker.smugmug.com/photos/324242251_4JNZX-O.jpg







#34
http://jimwhitaker.smugmug.com/photos/324242288_mydw4-O.jpg




Here are a few things I learned with this environmental portrait project:
<!---->-<!--[endif]--> I learned about solving lighting problems using portable flash, and the importance of gobos and snoots.
<!--[if !supportLists]--><!--[endif]-->- I learned something about gripology, using a magic arm, clips, different light stands, and all those little doohickeys you need to attach a flash to something.
<!--[if !supportLists]--><!--[endif]-->- I learned how to develop a plan. Then, I learned what to do when that plan goes out the window, as it often does.
Example: The plan calls for dragging the shutter for a long exposure to burn in the room lights. Then my tripod breaks. Oops. Throw out the plan and come up with another one, while the subject is standing there staring at you waiting for you to shoot a picture. This is a good time to say “How about them Knicks?”
<!--[if !supportLists]--><!--[endif]-->- I learned that many people will do what you ask so be prepared for [I]yes.
<!--[if !supportLists]--><!--[endif]-->- Through repetition and practice, I learned how to give better direction to the subjects.
<!--[if !supportLists]--><!--[endif]-->- I got some valuable practice at finding a composition and deciding on a lighting plan while carrying on a conversation with the subject. This was the single hardest thing for me, as I don’t multitask very well. But it’s important, because many people are nervous when they’re about to be photographed, and they want to talk when they’re nervous. I tried to get them to relax a little and I tried to get them to want the same thing I want, so we’d be working towards the same goal. In this kind of project, even if the lighting and exposure is perfect, it won’t matter unless the tenants are cool with what’s happening.
<!--[if !supportLists]--><!--[endif]-->- I got some experience at making lots of quick decisions about shooting portraits. How do you show something about a person and something of their personality in a picture? How do you best take advantage of the space you’re given? All the little technical decisions flow from the big decisions. I learned to make the big ones first. This way, the smaller decisions seem more obvious
<o:p> </o:p>
Finally, when I started this project, I wondered if the whole long experience with all the expected delays, re-scheduling, egos, disappointments and the like would sour me on photography, yet it was just the opposite. I was absolutely fascinated by photography when I started and am even more so now. Whenever I felt like I couldn’t possibly take one more picture, that I’d had it up to here and needed a break, I found that once I get my finger on the shutter for the next picture, all that stuff went away and the fire returned.

[saurora]

I got some valuable practice at finding a composition and deciding on a lighting plan while carrying on a conversation with the subject. This was the single hardest thing for me, as I don’t multitask very well. But it’s important, because many people are nervous when they’re about to be photographed, and they want to talk when they’re nervous. I tried to get them to relax a little and I tried to get them to want the same thing I want, so we’d be working towards the same goal. In this kind of project, even if the lighting and exposure is perfect, it won’t matter unless the tenants are cool with what’s happening.
Multi-tasking and communication! I can so relate to this! :rofl You've learned a lot and I'm sure you are going to put this to good use in the future. Your last 2 sets you haven't made commentary on the individual shots, which I miss. But, I will tell you that when I look at these shots I feel like I know who these people are. I would say that you have succeeded in conveying your message very, very well. I love the last 2 shots in particular. Well, maybe the last 3....oh heck, I just noticed the tv screen in the mirror on #2!!! Super!!! Okay...I love 'em all. I do yearn to drag #1 into PS and boost the contrast and warm it up a tiny bit. Seems too cool and doesn't have that "warm fuzzy feel" that goes along with the project. I'd sure love to be able to go to see them hanging on display. I look forward to your Blurb book!

[1pocket]

Well, you sure did a fantastic job with these -- what a great project! I am impressed with the complex compositions you put together for many of these.

It has probably been asked above, but how long in general would you say you were in their apartment for each actual shoot (I'm assuming you scouted ahead of time)? I believe I read you used up to three portable flashes. Were they on stands, generally? Or more often creatively rigged?

If they were black & white I would say, submit those to Lenswork! A wonderful idea, and -- BIG AND! -- you followed through on it, not once, but twice!!

I tip my hat...

[Richard]

Excellent work, once again. :thumb

It has been a treat watching the progress of this project. I'm sure many of us have picked up some valuable tips in the process. Many thanks for sharing. :clap:clap:clap:clap

Regards,

[JimW]

Susan, thanks for the excellent comments. I dropped the commentary because it didn’t seem necessary. It finally occurred to me that the pictures can stand on their own. (30,31 & 32 are all newlyweds, funny how that worked out. On 31, the guy is a Yankee fan and the woman roots for whoever is playing the Yankees, which sort of explains their expressions. :D)
<o:p> </o:p>
Richard – Thank you very much.
<o:p> </o:p>
Steve – Your comment regarding the compositions just made my day. Given the small rooms and time constraints, I am happy with the way the compositions came out. I spent a lot of time and effort on composition, practicing in my apartment and making sketches and studying photographers and painters who came before. As I carried my gear into each apartment for the shoot, composition was the foremost thing in my mind. I kept repeating it over and over in my head so I wouldn’t forget to pay attention to composition, trying different ones and always questioning whether the composition could be better somehow. Since I was using either a 14mm lens or a 17-55mm lens (always at 17mm), keeping vertical lines straight became very difficult. So, if I raised the camera angle (and point down) or lowered it (and point up), it really played havoc with the vertical lines, and there are lots of vertical lines in these pictures, so I really tried hard to keep them straight. Which means I had to try to keep the camera in the middle, not too low and not too high, which in turn limits the options, which makes composition all the more important. I did use lens correction in PS to straighten the vertical lines, but you can only go so far with that before you’ve cropped half your picture. Photo #26 was shot with the 14mm and I was handholding the camera on a ladder way up high near the ceiling, which totally ruined the vertical lines. I used a major amount of lens correction in PS on that one to straighten all those vertical lines, forcing a substantial crop, but I thought it was worth it to get their expressions in bed and the taxi at the corner of 107^th and Broadway, both in the same shot.
<o:p> </o:p>
Re <<< scouting ahead of time>>>, I asked for a “walk-through” a day or two in advance of the shoot, so I could come in and take a few snaps, see the space, and come up with an idea for a picture. However, I didn’t think to ask for this until the first 10 or 12 were done. And I didn’t always get it. In the end, I got a chance for a “walk-through” in advance on about half the shots (16). For the rest it was just a one time deal. It sure did help though when I was granted a walk through ahead of time. It definitely improved the results.
<o:p> </o:p>
Lights (my flashes only, this does not include room lights)
2 shots had no lights at all (#11 and #19)
1 shot had 1 light (#21)
7 shots had 2 lights
15 shots had 3 lights
7 shots had 4 lights
1 shot had 7 lights (#12 and #13 – same setup)
<o:p> </o:p>
The majority of the time the lights were on lightstands. But they were often on the little flat lightstand that comes with the Nikon flash when you buy it, so it can go on the floor or on top of a bookcase or on a counter. They were also often on a magic arm attached to my tripod, or a bookcase or cabinet. Once the flash was in a refrigerator leaning against a milk carton.
<o:p> </o:p>
For the time per shot, it varied greatly between 20 minutes and three hours, average would be an hour and a half I guess. On #33, the voice teacher had a class that night. She allowed me a quick (5 minutes) walk-through the day before. Then she let me come in at 6 pm, before the class arrived, to set up my lights (10 minutes), then I returned at 7:30 during her class and was given 10 minutes to shoot. I spent 7 minutes setting up the shot and giving direction, then shot for about 3 minutes. (She thought it took a long time!) So I got the least amount of time for the shot with the most people in it. It figures. But, I was grateful that she let me shoot at all.
<o:p> </o:p>
Thanks for the tip o’ the hat.

[1pocket]

Jim,
Thank you for your detailed description of the preparation and the process for this fascinating project. Your project has certainly inspired me, and I hope others. All of your hard-learned advice about what worked best for you is very helpful and encouraging advice. You've given me some good ideas for helping me shape an upcoming major project idea of my own.

Again, great work, and thank you so much for sharing your behind-the-scenes thinking!

[eL eSs Vee]

Jim,
Mere words cannot describe the work you've done here. I think that rather than a magazine article this project should become a book. You have truly captured the personalities of your fellow tennants. Your work is incredible.

Thank you for sharing.

[cmorganphotography]

#3,5 AND 6 ARE MY FAVOURITES. Sry, caps. They all capture people "in the moment" and "in the life." Just relaxed, like I'm there sort of feel. I appreciate the setup of the table pic... ouch. Nice gear set up tho!
I like the use of colour #30-32. Each one has a different palatte and tells a different story. Nice shots!

[JimW]

Steve – Thanks and good luck with the project you have shaping up. Hope you have fun with it.
Lee & cmorgan– Thank you both very much.
<o:p> </o:p>
<o:p>
</o:p>As promised, here is the link to my Blurb book:

http://www.blurb.com/bookstore/detail/293860


Thanks for looking.

Jim

[Awais Yaqub]

This is fantastic !! what a people !!
great job

[BELphotos]

As a retired New Yorker, living somewhere else, I can appreciate the time and effort that went into this book. Just to get people not to punch you in the face when you point the camera at them, is accomplishment enough. In my best DiNiro, paraphrased of course, "Yo... you photographin' me?" (LOL)

Actually, the people in your building seem to be a real nice bunch. I think I mentioned in a previous post to this tread, you haven't really lived in New York until you have walked the halls of an apartment building at diner time. The cacophony of aromas will always haunt you. From Mrs. Mancini's macaroni sauce, to Mrs. Gertz's matzoh ball soup, to Mrs. Kraus's bratwurst and sauerkraut. Too bad you can't make a scratch and sniff book.

Your photography of these residents has really captured their essence. After repeatedly looking at the photos and the book preview, their personalities are coming through.

Great Book. Good Luck.