New lens and neo-noir.

In addition to seeing some much-missed friends while in Southern California last week, an absolute highlight was getting to shoot with my friend Sarah, who has a knack for looking effortlessly in home in front of a camera. It was a rollicking good time of messing with lighting, gritty backgrounds and moody expressions (and putting my new 50mm to use).

This next photo? An absolutely happy accident. It's a little soft, but still...after an accident like this, I can pack up and go home.

Nerd note on this one: Backlit with a Canon 580, fill light provided by an iPhone 4.

This week...

No work makes Jack a dull boy. So...the other day I and and a photog friend (and former co-worker) took a few hours to work on portrait technique and, since a photographer should have portraits of themself, shot portraits for each other. I've got a bunch to work through, but here's two of Fran I like very much. I used to be all about shooting with natural light, but in the past year I've started introducing more controlled light into my portraits.

I owe most of this to Joe McNally

It's no secret I'm a big fan of the work of veteran photographer Joe McNally. The man's a master of creative lighting and shoots some fantastic images. His use of small flash and rear-curtain shutter has had a huge impact on the way I shoot. During Sunday's fun session with Crystal (A good friend of an old co-worker of mine. Thanks, Facebook!), I had in mind a few shots on the D.C. Metro system. This one drew subconscious inspiration from Joe's great image of singer Fiona Apple on a crowded NYC subway car. Ok, I'll stop going on and on like a fanboy now.