It’s all because I now have Virginia Postrel as a new Twitter follower and Facebook friend. The glamour rubs off from from Virginia being the Editor-in-Cheif of DeepGlamour.net. We met back in 2004 when I was asked to create a portrait of her for a Research Magazine article where she was stressing the economic importance of design on a city. The new Frank Gehry designed Walt Disney Concert Hall had just opened and it seemed like the perfect place to highlight the style of Los Angeles.

Opening night lighting on the Walt Disney Concert Hall

It was scouting for the portrait session that I learned that much of the grounds and building are considered public property and are open for public use. I now use it as a location to a teach a portrait lighting class through the Julia Dean Photo Workshop. The next meeting of my Finding and Creating Great Portrait Lighting class is coming up soon on the weekend of August 6 & 7.

My portrait of the glamourous Virginia Postrel

Unlike basic square buildings that simply have a sunny and shady side, the Gehry building is full of curves and reflections. This makes the background and the lighting formula change every time you walk around the corner. There are also some great views of the city from some of the balconies.

Actor/model Michael Pierce surveying his city empire

The last time we held the class it actually rained in LA and just like a real photo shoot we improvised by jumping in and out of the building as the weather changed. This allowed us to explore the building interior more and the students ended up shooting some of their best photos of our models in the underground parking garage.

Mark Harmel

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Patients that received a new heart valve and the manufacturer Edwards LifeSciences are both very happy today. New research announced at the American Heart Association’s annual meeting reported that many patients who received this transcatheter Sapien heart valve felt “like they were ten years younger.”

The valve was ready for its close-up

I was able to see the new valve up close while I was taking photos for the Cedars-Sinai Medical Center’s Fall 2008 research magazine Discoveries. There was a cover story about one of the clinical trials at the hospital that involved this experimental artificial heart valve. Instead of requiring open-heart surgery this valve is designed to be inserted up through the groin into the heart. It’s then expanded into place at the site of the current damaged heart valve by a balloon.

The angiogram art approach to the valve

Editor Laura Grunberger, designer Diane Kuntz and I pondered the best way to create a cover photo for the valve story. There was the possibility of shooting a rare live surgery of a trial patient, or a still life of the valve itself. We decided to explore both options. Live surgery presents its own shooting challenges, but I had recently been shooting in an angiogram suite and was impressed by the video images that are captured during the procedure.

I thought the balloon and wire mesh had great design possibilities and there could be an angiogram art approach to the story. But I didn’t count on the heart monitor (dark instrument on the right) getting in the way. It was still a contender though and there was room for type and copy that would fit a cover design.

Showing a similar procedure in the angiogram suite

The second version involved going down to Edwards Lifesciences in Irvine to pick up an experimental valve. There I received my training on inflating the balloon and how not to destroy the sample. Back in my studio I had to operate the controls like the real surgeon above while putting it into place and keeping it damp without looking wet.

I had seen the more scientific depiction of the valve on the Edwards site and wanted to take a more dramatic approach. This involved setting up my own still-life surgery where the macro lens was inches away from the valve that was surrounded by lights, stands and reflectors.

The studio shot was selected over the OR version

I loved the balloon and mesh and created this detailed shot that had an abstract feel. I gave Diane some room to move in a little tighter, she inserted the masthead and some copy blocks you have a cover shot.

Older patients that couldn’t survive open-heart surgery can now live longer, happier lives and the technique could move to wider use as the clinical trials progress.

Mark Harmel

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There is only so long you can sit on the ground waiting for a waiter to pass by before you embarrass the family

A big challenge for any photographer on a family vacation is carving out enough time to do some serious photography. Capturing a compelling image often involves doing activities that are either boring, dangerous, or embarrassing to anyone else not taking the photo. On most family trips I either put the camera away or lug it around hoping for an above average snapshot.

The schedule for a family vacation is just different than doing serious shooting. Sunset, a prime-time to shoot is most often taken up by checking into the hotel or eating dinner. Breaking out for a sunrise excursion is a must for places like Monument Valley, but these opportunities are few and far in-between.

For this year’s trip to Paris I came up with a different solution. I left a week early.

I highly recommend this choice. While my family is tolerant of me carrying a camera and three lenses through the streets, they don’t always appreciate me stalking an interesting person in a Metro station or searching for the perfect café chair.

In the Metro, I was spying on this group of rowdy, drunken guys acting out when this charming young girl sat down and mesmerized the group with her charms

On a recent weekend excursion closer to home, I attempted to share my passion with Max, my 14 year-old stepson. I invited him on a sunrise journey into Joshua Tree National Park. After my tenth stop to find the perfect light on the perfect Joshua Tree, Max screamed with hungry exhaustion: “It’s a cactus! They all look alike. Just shoot it and let’s go eat breakfast!”

I appreciated the wisdom of my early departure on my second day in Paris. I walked into the Musée d’Orsay and was mesmerized by its Great Clock, the centerpiece of the railroad station that was converted into a modern art museum.

At one end of the arched enclosure is a huge beautiful clock backed by frosted glass. Behind the glass are multiple stories of walkways traversed by patrons going from one gallery to the next. I was fascinated by the silhouettes created behind the clock as people walked by. I decided that I wanted to capture someone in the compositionally correct location walking close enough to the glass to cast a distinct silhouette.

The Great Clock in the Musée d'Orsay. If you hold your breath until you turn blue in a modern art museum does that make you a Picasso?

As I was holding my breath trying to balance a telephoto lens on the railing of the Orsay I could imagine Max complaining, “It’s a clock. Let’s go.” Since this was my first week, I was on my own and could indulge my multiple photographer paranoia’s. Did I have the clock in focus? Can I hold the camera steady enough to get a sharp exposure, and can I get my silhouetted person close enough to the glass? Other tourists walking by either made a quick frame of the clock or had someone stand at the railing for a snapshot. The flash went off and they moved on – or perhaps thought – “It’s a clock, let’s go see the Monet’s”.

After over 100 exposures I finally captured one frame with a clean, in-focus profile of a waitress walking by the “backwards” clock in the Orsay museum cafe

What surprised me most on the trip was how capricious it was to get a great shot of famous landmarks. My guidebooks never reported any seasonal or construction warnings.

My first view of Notre-Dame Cathedral revealed scaffolding around one of the towers. This ruled out the main facade of the church.  And at the Louvre, the length of the summer day eliminated my dream of a nighttime shot of the I. M. Pei designed pyramid. I had the opportunity to meet and photograph the architect and admired him both as a person and an artist. My heart was set on going to the Louvre in the evening to see the glowing pyramid inside the triangle shaped reflecting pools.

To my great disappointment, I discovered that the pools had been drained for some maintenance issue. I never did understand why. Although I found it possible to navigate the city and feed myself with a limited English/French pidgin language skills  - a greater understand wes required to discover  when the pools would once again reflect the pyramid.

The joy of the Louvre pyramid before discovering that it would not be lit at night

My other lighting mystery happened with another visual treat of Paris – the Art Nouveau styled Metropolitan (subway) stations. I had my eye on the vine shaped entry at the Blanche station that almost perfectly framed the Moulin Rouge. When I scouted the shot at 4 p.m., the two flower-shaped lights were glowing like an alien’s eyes. But when I returned at dusk with my tripod, the lights were off. This time though I found a way to make the lights work. More about this later…

Embracing change and being flexible, is all part of traveling to a new land. But a little planning also comes in handy. I start with travel guidebooks.

For visual scouting I used the DK Eyewitness Paris Guide. The book is full of photos that help me plot the highlights and serve as a competitive challenge. My favorite planning book and constant traveling companion was the Rick Steves’ Paris travel guide. The DK book has small bits of information about every highlight in the city, while Steves tells you in detail the best places to visit and how to get the most out of your vacation. Steves also has some wonderful, free audio guides for your trip as well.

My first trip to Paris had a dual agenda. Be a tourist, and take great photos that would pay for the trip. Soon it became apparent that these goals were synergistic. What I wanted to see as a tourist were the same places that most people wanted to see as well. I could be my own one-man market research survey.

The game is to go the same spots that everyone else has covered and find a fresh – and ideally better way to shoot the location. This sounds easier in theory than practice. My first response is usually ”this looks like a postcard.” That’s a bad thing since most postcards are uninspiring. The trick is to go the spot and hope that your eye naturally does a better job of arranging the pieces than those that came before. And if inspiration doesn’t show up right away, you push yourself to find a new viewpoint. Fortunately, I’m quite good at discovering new views of “the most photographed places“.

Placing the Invalides dome in just the right location required balancing on the 16-inch ledge of the Pont Alexandre III and waiting for a tour boat spotlights to illuminate the bridge details

In Paris this could mean finding the best lampposts on the best bridge over the Seine and for once getting the lucky break of finding a construction zone that allows you to safely stand in the middle of the street. Or discovering that the best view of the Invalides Dome involves standing on a 16 inch ledge of that same bridge to get the view that you think hasn’t been shot before. The four-story fall down to the river made me question the sanity of this pursuit. But I balanced there for 45 minutes anyway.

Other shots require standing in the middle of the street without the safety of construction barriers. I had seen a photo of a line of waiting taxis on the Champs Elysées near the Arc dé Triumph. I was tired after my ledge-balancing act, but it was in the neighborhood so I wanted to take a look.

My first shots were bad copies of a postcard photo, but as I continued to try different angles, the line of cabs became longer. They were now forced to double-park into the second lane of traffic. This was the break I needed. I was able to move out from the curb and stand in front of the second lane of taxis. This allowed me to get a Taxi Parisien sign right besides the Arc dé Triumph.

Double-parked taxis on the Champs Elysées were the ticket

What allowed me to see what others have not? Was the line of taxis not as long for other photographers, or was I just crazy enough to stand in front of the taxis? It’s hard to tell. What’s clear is even when you think it has all been shot before, it is possible to fight through the fatigue to make a classic shot of a familiar landmark.

I’m constantly amazed at the successful export of what I call the “Japanese Tourist Photo” (JTP). The classic version is the husband taking a snapshot of his wife or family in front of anything that resembles a landmark. Point and shoot cameras are perfectly designed (and in my opinion – only good) for this “I was here” memento. Now that most travelers have digital and cell phones cameras the JTP is even more popular. Often people seem to be more interested in seeing photo of themselves in front Eiffel Tower than they are in viewing the tower itself.

Look at me. I saw these Monets

The most bizarre variation of this can be found at art museums. Monet’s water lilies and a self-portrait of Van Gough were not works of art to be admired and contemplated. They are now just one more background location for the mug-shot book.

I’m personally appalled by the affront to the dignity of the museum and artist, and at the same time utterly fascinated by the act. The documentary photographer in me doesn’t judge the morals he just yearns to record the act.  I understand that this only doubles the insult, but it can make an interesting picture.

The challenge to my values came when a family friend asked me to do a JTP of her with her son in front of the Mona Lisa. Should I break out my lecture that I just don’t do that kind of photo, or snap and move on? I decided I was on vacation and snapped.

Family friends in front of the Mona Lisa after I took their JTP

A bigger question that a travel photography in the digital age has to ask is – how much manipulation can I do, and how much am I willing to do? The street artists selling their wares along the Seine all move the Parisian landmarks around to fit their composition needs. Standing on what would be the spot that Maurice Utrillo painted his famous view of the Sacré-Cœur through Montmartre area shops reveiled that he moved the church’s dome over to the right. If painters can move landmarks around to meet his compositional needs, is it fair for me to do the same?

Removing a street-sign or a stray lamppost is now just part of my workflow. It allows me to have some more flexibility in my compositions. I can now move a little more to the right and have less distortion on the Eiffel Tower less if I clean up the tree branch later. With two photos in Paris I did a little more retouching than usual.

The moon below, next to the Pont Alexandre III streetlamp has been added to the photo. I have never done a similar moonrise trick before. I have seen and laughed at fake, overly large moon insertions before, and never imagined myself doing such manipulation. Yet, just ten minutes before, the moon was in that location. Should I be penalized because it took so long for the street lights to come on? I decided that it was fair to shoot the moon and insert it later.

Pont Alexandre III lamppost view that was available from my favorite construction zone

How far photographers go with this trend is a matter of taste, morals and skill. My retouching skills are limited, but I knew enough to shoot all of the pieces that were needed to blend together an idealized illustration of how the Moulin Rouge could look through the Metropolitain arch.

After returning, I teamed up with my Photoshop artist friend Dennis Dunbar. He works in the fantasy world of creating movie posters and had the talent to blend multiple images together for a photo-realistic-impression of the landmark. I suspect that most people will just assume that I just used a special lens, until another serious photographer attempts to find the spot and discovers that I have moved the Metro sign. (A more detailed story of the composition is available in a previous post.)

The Art Nouveau Metro entrance was in the wrong place - so I moved it

Coming to Paris for the first time allows me to see the iconic details of the city that become familiar to the locals. Two elements that fascinated me were the sidewalk cafes and the cobblestone streets. Since most of my images only require a little digital darkroom work, I’m normally most excited at the time of capture. It’s rare when an image grows on me later. But I had two exceptions to the rule.

After five frames I gave up. It was only after seeing others photos of Parisian cafes did I appreciate what I captured

These backlit red wicker chairs and tables was my first surprise. This photo should have been easy to find. There were great cafés on seemingly every corner, and in August when half of the city goes on vacation, restaurants stack their chairs inside their windows in amazing patterns indicating that they were closed. At the time though, I just didn’t feel that I captured the essence of the Parisian way of dining. Only after I looked at what others had done with the subject did I appreciate what was achieved.

This cobblestone street initially disappointed me as well. In my mind I wanted someone carrying a baguette across the street. I waited at my favorite corner as the Montmartre locals walked by and stalked patrons at my corner bakery to no avail. Fortunately the pigeon caught my eye as I was waiting for my bread.

I was thinking cobblestones and baguette before the pigeon took me on a flight of gray

Both of these grew on me during the processing of the files and after comparing them to other currently available images of the subject matter. They are now my quiet favorites from the trip. Letting go of my expectations allowed me to accept these images – and looking back I can see how this is the secret to traveling to a new country.

Giving up expecting that the French should speak English, and accepting that there will be construction are both good starts. And if your plans don’t work out, it’s always possible to shoot somewhere else – or use one of those café chairs to sit down and have a glass of wine.

Mark Harmel

harmelphoto.com

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I’m off to the Indy 500 tomorrow to view to 100th Anniversary of the race and to see Charlie Kimball be the first driver with type 1 diabetes to compete in the race. I’ve written about being with him at races before and now you get to hear from him directly in this interview that was conducted at the Long Beach Grand Prix in April.

Charlie talks about how he learned to continue his racing career after being diagnosed with type 1 diabetes. He is interviewed by my wife and his doctor – Anne Peters, the Director of the USC Clinical Diabetes Programs. Together they have worked out a system for Charlie to manage his diabetes while racing.

Additionally, Charlie reveals his emotions when he was first diagnoses with diabetes. He shares how he learned about his condition from other patients and bloggers, plus offers advice for other doctors about how they could work with their own patient athletes.

If you are an athlete with diabetes or help to treat one you will want to view Anne’s extended video on Medscape about how she works with Charlie to manage his blood sugar while racing. (Free registration required).

To get in the mood for the race watch Charlie go for the win in last year’s Indy Lights race at Indianapolis last year. This shows that he is excels on oval tracks as well as road courses.

As an added bonus read about how Charlie is the 2nd Kimball to make history at Indy. His father Gordon was the chief designer engineer of Pat Patrick cars that won the Indy 500 in 1981, ’82 and ’84. He and wife Nancy also get credit for raising a son they can be proud of on and off the track.

(A huge thanks go out to my friend John McBride who had the skill, wisdom and patience to turn my stills and video into a professional presentation.)

Mark Harmel

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Dermatologist Dr. Noah Craft praised Mayo study

The Mayo study was praised by Harbor-UCLA Medical Center dermatologist Dr. Noah Craft, who was quoted as saying that it was ”the best study done to date” on the condition. The photo above was take of Craft back in 2003 at the old UCLA Medical Center.

Two other studies that are being performed by the CDC and Kaiser Permanente of Northern California, are slated for release in the next few months.

Mark Harmel

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Here are the new rules of the road

Big thanks to Yvette Van Boven , Pia Jane Bijkerk and Erin Loechner for creating the illustration.

In my world it used to be only professional photographers dealing with professional photo editors. We all learned the game rules from being on the field. Now that photos are easy to share and blogs have made publishing easier there is a new set of rules in place. All you have to do to learn them…is read.

Would any of you allow an image to be used by others? If so under what conditions? Share in the comments below.

Mark Harmel

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P.S., Some of you may righty question if it’s proper to post the illustration. In this new sharing world, the creators gave permission to use the poster as long as they were given due credit. (Check back next week for news on buying a print). I still prefer to see my name on a check when I receive credit, but I could be open to a situation where I want to share an image to make a larger point. Stay tuned.

A thanks also goes out to A Photo Editor, where I first saw the post.

For historical reasons our tax guy is located in San Francisco and this often involves taking a trip up to my favorite US city to meet with David Zuckerman in person.

The weather was glorious yesterday and is even warmer today. I always say that when Global Warming comes I want to move to San Francisco. The city is a smaller, cleaner more friendly version of New York City. They normally have the disadvantage of being too cold much of the year, and if you don’t count an increase in sea level, warmer versions of both cities would be grand.

Our sunrise view over the San Francisco Bay from the Hotel Griffin room

After flying up and having a wonderful dinner at Boulevard we got down to the business of finishing our taxes.

The number crunching continued in the morning after viewing a beautiful sunrise over the San Francisco Bay in our Hotel Griffin room.

There was even some time to enjoy the waterfront and have an oyster lunch at Hog Island Oyster bar in the Ferry Building before heading over to David’s Embarcadero office to crunch numbers, and even more numbers.

David's adding machine tape collection

David enjoys allowing the collection of his adding machine tape to simply pile up on the floor to form a three dimensional sculpture.

By creating art from our paper trail and writing this blog post, does this make the trip tax deductible? That’s a question for David.

Mark Harmel

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Another good update from Macworld on the experience of using Gazelle to sell an old iPad.

After another dropped call recently I decided to make the switch to a Verizon iPhone. The phone quality and network are a definite improvement. It passed the Zuma Beach to Malibu PCH stress test last week, a recent Ojai weekend, and it consistently out-performed my wife’s ATT iPhone 4. But the addition of tethering with the personal hotspot feature is the “Killer App”. I can now use it to connect my laptop with a USB cable or a choice of Bluetooth or wifi, plus can get a web connection on my iPad with Bluetooth or wi-fi. The option of surfing on the go is great, although you can’t talk and surf at the same time. (See iPad post.)

I recently turned on my iPad’s 3G connection during a power outage in Washington DC and used it in a meeting where the wi-fi network was closed. For me, it’s a great bridge for those times in-between wi-fi connections. I don’t need a heavy use plan – just a way to check email and light web surfing – I had the $14.99 a month plan for 250 MB of data on the iPad and just signed up for the 2 GB, $20 a month plan on Verizon. The advantage is that I can connect multiple devices – most importantly my laptop.

I can now connect my iPhone to a laptop or iPad – and talk on the phone!

After having a public email for years I get tons of spam and while most of it is filtered by my host at least 50 emails a day still make it through. My laptop Mail program filters out much of the other spam, but they all come through on my iPhone and iPad. I’m also a beta tester for my frequent flying wife. She has a 3G USB modem that she uses often while traveling and in her East LA office with bad internet service. In a test today the iPhone connection was equal to the 3G modem. Verizon has a 4G modem on the market, but it is only for Windows now, which means its not available.  The modem costs $60 a month and she has her 3G feature activated on her iPad as well. With the hotspot feature she could be saving $54 a month.

I finally made the deal to sell my 4G ATT iPhone through Craigslist. The process is a big pain, but I thought that I could get more for the phone than the easy approach of using Gazelle.com or some other online service. All of my potential buyers were pros that knew the market and bargained hard. Expect plenty of questions and close stares at every scratch. I even had one no-show and the second guy rescheduled. The next time I will be using Gazelle to sell my electronics instead.

In the end the difference was $150 with my early termination penalty from ATT. But I now have a real phone again and the hotspot could help pay for the difference over time.

Mark Harmel

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Charlie squeezing into his seat before the race

Having safely driven through a crash-fill start today Charlie worked up to 11th place before he had an unplanned connection with the turn three wall after a pit stop. The Indy Light series, where he raced the prior two years doesn’t have pit stops, and the high-speed action of changing tires and refueling was one of the many new challenges in this race. He learned the hard way today how much he can push the car with the mixture of cold tires, a full tank of fuel and racing adrenaline.

The race was run on a mix of city streets and an airport runway at a track familiar to Charlie from his Indy Lights experience. That series served as a great training ground for his move into IndyCars. There is a list of important changes that Charlie needs to master, but the race environment is very familiar.

Pre-race fist bump with proud racing engineer father Gordon Kimball

One constant is the trackside presence of his father Gordon who serves as Charlie’s low-key manager while maintaining an active motorsport engineering and avocado-farming career. Charlie’s mother and girlfriend often join them at the track as well.

This was my first time at the St. Petersburg race, but the street course track felt familiar to the Long Beach race last year. Unlike the transition from minor league baseball to the pros where there are different stadium sizes and crowds, the Indy lights and IndyCars series are run on the same tracks on the same days.

Charlie talking in his pit control center after qualifying

In many ways this felt like Charlie’s third year in the greater IndyCar series instead of being a rookie a new racing world.  The encouraging part about the day was how well he performed while on the racetrack. He stayed out of early trouble as other drivers took themselves out through crashes plus he made on-track passes.

The rookie mistakes, like the one he made today will pass and he will progress to finishing races and being a competitive force while being an ambassador for diabetes.

Mark Harmel

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Knowing that this was a copyrighted photo was not a case for Sherlock Holmes

This photo is part of a collection that is represented by Getty Images, that normally means that they license the photo out for various media uses and I get a portion of the license fee. In this case it also involves a Getty team that patrols the web looking for copyright infringement and makes people pay for their theft.

My caller’s unauthorized use was discovered and a bill with a hefty penalty fee was presented. He contacted me directly wondering if I would take pity on him because he normally licenses images legally “all the time” and didn’t have the money. Fortunately the negotiation was completely in the hands of the Getty legal team, but I also didn’t have much sympathy for him. He admitted to knowing the system and took a chance.

Part of me wants to go Baretta on him and tell him “Don’t do the crime if you can’t do the time. “ But more interesting to a general audience and other bloggers could be to talk about ways to identify a photo with copyright protection that requires a license, or permission to use.

Look for the two clues in this search result

Assuming that my caller really did find the image doing a Google search, here are the results he would have seen. Holmes would have spotted two clues in the results. First you can see that it was pulled from the Getty Images website and you can read their logo in the upper left corner. This sort of branding protection is known as a watermark and is easier to see in the expanded version before you land on the Getty page displaying the photo.

An enlarged Getty Images watermark

The other clue you can look for in Photoshop and other programs that display the metadata information. Here you can see my contact information and a notice that the photo has been copyrighted, and at the top you can also see the little © symbol in front of the photo number. I submit all of my photos to the U.S. Copyright office to be registered which substantially increases my protection if it’s used without permission, the penalties can be much greater than the fee Getty was asking from my caller.

I apply my contact and copyright information to all my photos with both information loaded into my camera and later more details are added with an action I created and apply in Photoshop. The description and keyword information is added when the photo goes to a stock outlet.

Metadata is added by my camera and a Photoshop action

But there is a problem with posting photos on some websites, including Facebook where this metadata is stripped out and the file name is changed when the image is uploaded. That doesn’t mean that photos I upload to Facebook are available for anyone to use. The image still retains my full copyright protection, but as a user you can’t know whether the photo can be legally licensed or not.

I’m a big supporter of content creators being paid, so I’m not a fan or free or cheap photo sites, but there are photo hobbyists that are willing to share their photos on Flickr and other places for use in blogs. The proper etiquette is to always ask for permission before using the photo.

The strategy of stealing photos off the web and asking for forgiveness later could put a dent in your checkbook or land you in court. Properly license the photo or ask for permission. As Sherlock Holmes would say “It’s elementary, my dear Watson.”

P.S., Before you write – I know that the Holmes quote is not accurate.

Mark Harmel

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