Paparazzi

FHM magazine asked me me to do a series of portraits of Enric Bayon, a known Spanish paparazzi, and author of “I Paparazzi“. It was one of my first collaborations with the magazine, and they asked me to make photographs of a colleague! Enric cooperated very enthusiastically in the various photos that I made of him. The picture that I was most excited about was an homage to Weegee, pseudonym of the celebrated New York photographer Arthur Fellig, of Ukrainian origin.

Paparazzi Enric Bayón © Marcelo Isarrualde

Some months ago was the inauguration of the exhibition “Murder Is My Business” in
New York ICP. It contains much of Weegee’s intense work from the year 1935 to 1946, a work made primarily on the Lower East Side of New York. He worked with a large format camera, the Graflex Speed Graphic and a flash from the same brand, and almost always with f16 and 1/200. He developed the film in a makeshift laboratory in the back of his car, and from 1938 he was the only photographer allowed to have a portable short wavelength police radio in the city. During this period he focused on the photography in the street, crimes, especially the killings.

Weegee  Arthur FelligArthur Fellig

1946 he settled down in Los Angeles where he developed another type of photography related to the world of Hollywood. These photographs can be seen in his exhibition “Naked Hollywood” since November the 13th at The Museum of Contemporary Art in Los Angeles.

Moca Weegee poster

The entertainment world and the use of simple lighting techniques led me to decide which type of photography that I would do of Enric Bayon. They should be funny, direct, simple, and why not parodic?

I remembered the portrait of Weegee with his Speed Graphic and did not hesitate to propose to take a similar picture of Enric. It should be urban, but against a wall that gave the impression of being in a dingy alley of any city in the world. It should also be made with a technique as simple as the one that Weegee used, and of course Enric should wear a suit and smoke a cigar.

I did not have the camera nor the flash. For years Graflex manufactured the mythical Speed Graphic and from 1947 they developed a lighter version, the Pacemaker Crown Graphic. I had bought the latest version manufactured between 1958 and 1973, the Super Graphic and now the flash was the only thing missing. CasanovaFoto Collection did very
kindly lend me the flash for the session!

Speed Graphic Pacemaker

The photograph was taken with two Canon flashes, 430 EX II, one directed towards the model and the other one from the right side with 1/4 EV of the main flash to reduce the contrast of the shadows.

I did not get the light bulbs for the Graflex flash to work and hence I did not have any other choice but to generate the flash in Photoshop.

Lighting diagram © Marcelo Isarrualde  Lighting diagram

Paparazzi.pdf

From South to North

I usually spend the Christmas holidays in the Southern Hemisphere, while I live in the Northern Hemisphere. Every year around this time I make a ‘Happy Holiday Photography’. This year I had a weird feeling. Crisis, early elections, unstable weather in both continents, the winter did not seem to be winter in the North and summer did not seem like summer in the South. So I made this picture from the inspiration of the times that we live in.

Merry Christmas © Marcelo Isarrualde  Merry Christmas © Marcelo Isarrualde

The hour of the realization of the photography was very important, as I wanted it to still be daylight but I also wanted the street lights to be lit. For a moment I tried with different locations in the neighborhood Raval in Barcelona, since the structure of the urban neighborhood is very diverse and full of passages.

© Marcelo Isarrualde

Because of the high amount of natural light the flash was too dominant and gave the environment an artificiality, but I liked it since it was not a typical ”Christmas look”.

I then tried a darker passage, which had an open window to a bar in it, and the result improved. In this case the illumination of the flash was direct and wide since I wanted to simulate the natural light of the passage itself that is seen in the upper right corner of the photo.

© Marcelo Isarrualde

I put a Yongnuo 560 flash on a monopod with a battery Godox Power Pack PB820. I put it from a lower point of view than the natural light of the passage for the illumination to be flatter and this way we can see the faces of our friends with more sharpness.

© Marcelo Isarrualde

Finally I did some more photographs of the street in the same passage but this time I decided to extend the surface of the light source for the illumination area to be larger, and at the same time be able to decrease the contrast a little.

© Marcelo Isarrualde

I did not want to increase the ISO too much, so I realized the photographs with tripod and very low speed.

Lighting diagram © Marcelo Isarrualde Lighting diagram

From South to North.pdf

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It is forbidden the use partial or global of this webside unless author written permission.

 

Head in a freezer

Some months ago I was in Montevideo, Uruguay, where I exhibited
my latest personal project – Love Rooms – and where I also did
workshops on the subject “strobist” techniques for two groups on the
occasion of the workshops organized for the Fotograma 2011, an
international photography encounter. Four practical classes and three
theoretical classes were realized, and during the first practical
practice this picture was made.

Head in a freezer © Marcelo isarrualde  Model Laura Martinelli

A friend of mine had got permission for me to work comfortably in an
abandoned spa facility, and in one of the corners inside this spa
center I saw an old fridge that inspired me to take a photo. The
natural light on the place was very good, but it came from behind of
the model.

Head in a freezer © Marcelo isarrualde

I decided to decrease the contrast with a translucent umbrella, from
the left of the camera and in this way balance the ratios of light to
Ratio 0.

Head in a freezer © Marcelo isarrualde

I opened the fridge and decided to take a picture where the model took
something out from it or looked if there was something inside of it.
That was when I realized how dirty the environment was and how worn
out the fridge was… You could only find something strange in there!

Head in a freezer © Marcelo isarrualde

I liked the result. For the light in the refrigerator to be the main
lighting of the scene I decided to underexpose the ambient light -2
EV. The light of the refrigerator lacked of character, which I gave it
by placing a green gelatin on the flash that I had put inside of the
fridge. In this way the color would emphasize the morbid theme.

Head in a freezer © Marcelo isarrualde

Head in a freezer © Marcelo isarrualde

Finally, the wall in the background needed another tone and therefor I
decided to use a second flash, a Yongnuo 560, with blue gelatin from
Rosco. The interesting thing with the result was to see on the screen
of the camera, once the photo was made, how the picture had changed
from what we had seen before the flashes were fired off and before we
underexposed the atmosphere.

Head in a freezer © Marcelo isarrualde

Lighting diagram © Marcelo Isarrualde  Lighting diagram

Head in a freezer.pdf

The photography studio

I have worked in countless studios, even though my work usually makes me work “on location”, ie, on exterior or interior locations outside the studio. But working in the studio is very convenient for many reasons, and one of the reasons is the possibility of completely controlling the light.

Photography studio © Marcelo Isarrualde

My first task as director of photography for the studios that the editorial group Hymsa Edipresse, now fusioned with the RBA Group, had in Barcelona was to equip the studios with the most efficient infrastructure. This to be able to realize the different types of photography a publishing company with more than 15 headers could need. It can be everything from baby pictures to pictures of photomodels, decoration or plates of food, still lifes or portraits. The different magazines required a wide range of equipment for the photo shooting, for lighting and props.

The still lifes of food require little space, but sometimes it is important that it looks like the photo has been taken on another location and not in a studio. For this it is good to have sets that allow you to put the plate in context.

Photography studio © Marcelo Isarrualde

Photography studio © Marcelo Isarrualde

Another important aspect is to work with the most efficient equipments for each job. An optical bank as the Cambo Ultima 35 is essential for solving many problems that still lifes can imply, as it is a flexible camera that can solve the problems with depth of field and perspective distortion, among other things. The great advantage of this camera is that it is adaptable to medium format digital backs or 35 mm cameras. Hence, to have the versatility that an equipment of 35 mm SLR gives you, such as the Canon Mark III or the quality of a medium format camera like the Hasselblad, completes the kit of versatility and quality. If we also can count on a good monitor like the excellent ones that the wide range of Eizo offers, even better!

Photography studio © Marcelo Isarrualde

Photography studio © Marcelo Isarrualde

What about lighting?

The big brands have a great variety of accessories. In this way the choice for a studio where many different types of pictures are being made should be the brand who’s accessories can meet all your needs concerning lighting techniques. They should have everything from fiber optic accessories to ring flashes, gobo projectors to large windows. And they should also have a service center near, and should be fast and effective!

Photography studio © Marcelo Isarrualde

Finally, having a small carpentry atelier for mounting sets is useful for interior photos as for fashion magazine covers, and is another of the equipments that makes the work more fluid and faster in a big studio.

Photography studio © Marcelo Isarrualde

Photography studio © Marcelo Isarrualde

The photography studio.pdf

All rights reserved. © Isarrualde Photography
It is forbidden the use partial or global of this website unless authors written permission