Tomo

Tomo
Originally uploaded by Michael Slear

Its one of the privileges of photography. Sometimes seeing the unseen or being first to experience, or getting behind the scene access. I’ve photographed molten steel, computer inards, and light bulbs being manufactured. Actors in the wings
--Artists creating, and you may remember close up and personal with the Moomba snake. These shots give an inside look at some new technology, that will help save lives. The TOMO radiation at CRCC right here in Myrtle Beach. Adding some colored gels to the flash gave the scene a bit more drama and interest, and discovering that the laser alignment light was photographable was a bonus. The longer the exposure the more prevalent it became.

Sgt.Major

Sgt.Major
Originally uploaded by Michael Slear

With the Veterans Day tributes, I was reminded of the image of Sgt.Major Buddy Hewitt. I photographed him in his home for PD magazine. Mr. Hewitt was part of what the movie “We were Soldiers” was based on. A VietNam era veteran, Buddy lived through one the wars most notable and horrific battles, the first one, known as LZ Xray. It was my honor to meet such a man. “just doing his job”, as he was quoted in the article. We spent an afternoon going thru his memorabilia and talked of his long career. He was a lucky one. This holiday is for remembering the lost and we should honor ‘them’, and my friend Buddy.
This image was produced by projecting a slide of the Viet Nam memorial onto the Sgt. Major with the flag behind him.

Fall

Fall
Originally uploaded by Michael Slear

This image breaks compositional rules by centering the subject and having a horizon line split the image. Rules were made to be broken, right? I believe it is still successful, eliciting the emotion of a cool quiet fall morning. When photographing fog or snow or even white sandy beaches, beware of taking an average meter reading as the overall brightness of the scene will fool the meter and give you an under exposed capture.

Owl

Owl
Originally uploaded by Michael Slear

Interesting thing bout wildlife is you never know how close you may get. This guy was unduanted by my presence and was actually quite curious. A long lens (300mm) and large fstop enhance already expressive eyes.

Alysha

Alysha
Originally uploaded by Michael Slear

Recently had the pleasure of photographing Alysha for her senior portrait. Some studios in the midwest specialize in senior portraits, with hours of sitting time and half dozen wardrobe changes. We did a couple clothes changes and an hour and this was my favorite, where preparation and timing with a special sky came together with a beautiful young lady. A little fill light, a rim light, and a little luck gave us an image she had envisioned. Enjoy!

Uploaded by Michael Slear on 20 Oct 10, 9.24AM EDT

NBPlantation

NBPlantation
Originally uploaded by Michael Slear

Your basic twilight shot where the window of time for balanced available, twilight sky and supplemental light is very short. I've attempted 2 twilight scenes on same evening and usually find there is only time for one. A speedlight within the gazebo, one far camera right and one near camera, gave the shape and accent I had previsioned. The rest was up to the models. Enjoy!

RYAN the Golfer

RYAN the Golfer
Originally uploaded by Michael Slear

Its always good to shoot in the studio. You get to exercise more light control and usually with less components and distractions. You’ll always have the technical and electronic gremlins but they are more easily handled in the studio environment. Location work demands you make the best of any given light. In the studio the light becomes completely malleable. The effect and construct is up to you or as in this case the art director who knew he wanted drama. So with comp in hand we put together an image, using rim side lights to accent the shape of our golfer and club. The negative space was allowed for copy.

Uploaded by Michael Slear on 29 Sep 10, 3.59PM EDT.