capture

Digital Capture

The aperture peeks open for a fraction of a second.

The point of capture is the most critical moment in photography, yet it represents so little elapsed time, especially when you think about all the time and energy that goes into producing a photo shoot. Let’s not even think about the money it takes. Location, Models, Hair Stylist, Make-up Artist, Assistants, Prop-Stylists, Catering, Equipment, Accommodations, Transportation, Estimates... if one thing is out of line, the shoot can easily turn miserable. That is why it is important to work with people you trust.

Digital photography has been my life for the past several years. In that time I’ve worked with every major camera system from Leaf and Phase One to Sinar, Kodak and Canon on 4 different continents. When the camera stops firing with a celebrity or $8000 per day model; you want someone with a cool head and an analytical mind to solve the problem as quickly and efficiently as possible. I will not say problems have never occurred. However, I always come prepared and every shoot I have been on I delivered a complete shoot to my client.

I Stay Ready so I don’t have to Get Ready.

- See It.

The latest computer hardware is at my fingertips. Though not because my client demands it. It’s because I prefer to work on only the best. My personal choice for digital capture is a precisely calibrated Eizo ColorEdge display for on-screen proofing with a 30-inch Cinema Display for maximum desktop efficiency, This pair of monitors maximizes the number of eyes that can see what’s happening and makes sure what is being seen, is accurate.

- Process and Save It.

I work almost exclusively on Macs however I do occasionally have clients with a PC. Changing to the Intel chip was a big step for Apple that is not complete yet. There are a few major software programs that have yet to switch. For that reason alone I maintain access to both Apple’s latest MacPro for speed and its predecessor, the G5 for compatibility. The Macbook Pro with plenty of batteries is my current portable solution, although alternatives are available.

- Redundancy.

I can be hired to support a shoot using your own or rented equipment, however I set up my own machines and displays just the way I like them and I am by far, most efficient on my gear. When using my own gear I implement precautions to minimize data loss in the event of a problem, and I have the latest of nearly every major software program and plug-in from QuarkXpress, to the complete Photoshop Creative Suite 2 (CS3 Beta) legitimately installed and registered. That includes the current most version of every major digital camera software. How can you be sure the machine you rent is in tip-top shape? Any time I am hired, I always have my laptop as backup whether I am asked to bring it or not.

- Keep It.

My digital archive of RAW files allows me to constantly test the latest equipment and software. Ever since 2003 I have owned over 1TB of personal storage, today it is probably closer to 6TB. Any shoot I work on I store all of the RAW data for 90 days from the last shoot day. I do this only with my client’s permission and for their own benefit, in case a catastrophe occurs. This means at any given point, I am carrying about 150GB of storage like it was my house keys.