Arvada, CO | Kids Portraits | Airplanes, Wagons & A Big Bruise

Kids are resilient. Ten minutes before I shot this series of pictures, Jaxon managed to fall and bang his forehead on the asphalt. I would have been laying in bed for a week. He cried for about thirty seconds, and then wanted to get down and play. We watched as the bruise started to come out on his forehead, and I went back to taking pictures. This was something important to document, as a toddler he is pretty much a walking bruise. That’s just who he is at this point in his life.

Jaxon never seems to get too worried about it. He has more important things to think about. Like airplanes flying overhead and wagons to pull and climb on. I guess he figures bruises are just the price you pay for the freedom to walk around and check things out.

I really like the authenticity of these pictures. The bruise, the clothes, the hair, the setting, it all feels real – because it is real. A picture doesn’t have to be staged and styled and manicured to be beautiful. Life is what it is, and I like to document it. Let me know if you have a life you would like to have documented.

You can click on any of the images to see them larger. Enjoy…


Tech Info:
Open shade late in the day
Nikon D70s
Nikon 35mm f2
f2.8 | 1/400 | ISO 200
Adobe Camera Raw
Photoshop Unsharp Mask to boost midtone contrast

Boulder, CO | Chautauqua Wedding | Final Album


It’s been a while since I put up a wedding photography post, so I thought I would give you a look at the album I designed to document Kate and Brandon’s beautiful wedding at the Chautauqua Community House in Boulder, CO.

As I was shooting the wedding on that rainy June day, there were a lot of images that I made specifically with this album in mind. It’s really gratifying to see so many of them make the final cut. Kate is a very artistic person, so I had her and Brandon make the final selection of images to include in the album. I don’t always work in this way, but in this case, I think it worked out really well.

The book contains about 110 images spread out over 50 pages and is laid out in chronological order from getting ready all the way through the reception. I find placing the images in context really helps people understand how the day unfolded, and also helps the bride and groom mentally “fill in the gaps” between the images.

I designed the book as a 12X12, but also made it available in 10X10, 8X8, and 6X6 for family and friends to purchase. The pages of the album are printed on real photo paper and the spreads lay flat with no seam in the middle. The font used for the text is the same font that Kate chose for her wedding invitations, so this helps tie the album to the other mementos from the wedding day.

As you can see, I used very little text, a simple layout, and only one design element – a very subtle sloppy border around all of the floating images. I think these pictures speak for themselves, and adding a complicated layout, or a bunch of extra elements would really detract from the story of the day. This tends to be my album design philosophy – let the pictures stand on their own.

Tech Info:
This whole book was laid out using Layered Photoshop Files
The sloppy borders were created using a Photoshop action
All but 11 images in the book were shot on film

Westminster, CO | Documentary Photos | Friday Night Lights

This is a series of pictures from Westminster High School’s homecoming football game back in October. My goal was to go out and capture the atmosphere of a high school football game, rather than document the game itself.

To accomplish this, I decided to use my Canonet QL17 GIII. The little rangefinder with a fixed 40mm lens. Using this camera meant that I couldn’t get caught up in shooting typical photojounalistic football action shots. Instead, I would have to focus on the periphery of the game – coaches shouting, players celebrating, officials moving up and down the sideline – all the stuff that goes on during a football game that goes almost completely unnoticed by the crowd.

There are some things that I find really interesting in these images. First is the lens flare caused by having the bright stadium lights in the images. This really seems to capture the glare that you notice when down on the field. Another interesting aspect of these images is the contrast… black uniforms – white numbers, dark sky – bright lights. Finally, there are the relationships – players talking, coaches teaching. If you’ve never been on a football field these can be easily overlooked, but they are as essential to the game as touchdowns, helmets or big hits.

You can click on any of the images to see them larger and read the captions. Enjoy…

Tech Info:

Canonet QL17 GIII
Canon 40mm f1.7 lens (fixed)
Legacy Pro 400 (AKA – Fuji Neopan 400) – pushed one stop (ISO 800)
Ilford Ilfotec DD-X Developer (10min @ 20C)

Camera Scan
Sigma SD9
50mm f2.8 Macro
Photosolve Xtend-a-Slide

Documenting Your Family | Photo Tips | Get On Their Level

One of the keys to getting great pictures of kids, is getting down on their level. This simple step accomplishes a few things…

  • It opens your eyes to the way children see the world, and helps you relate to them.
  • It can give interesting backgrounds that mostly go ignored by us grownups.
  • It helps hold kids’ attention, as they are unaccustomed to having the big people look them in the eye.
  • It makes the little ones smile, they love watching us struggle to move around for a change.
  • It lets your camera really see into a child’s eyes, rather than looking up through their eyelashes

So what does moving down to the kid’s level mean from a technical perspective? Since you are lower and pointing your camera up, you are likely to have some sky or brightly lit background in the frame. This can trick your camera’s light meter and cause the images to be underexposed. Just be aware of this as you are shooting. If your camera allows, it might be a good idea to dial in some exposure compensation.

Another thing to consider is your clothing. When I work with kids, I almost always wear jeans or shorts because I am invariably kneeling, sitting or rolling around on the ground. This makes kids laugh, and keeps the atmosphere light, but it is hard on dress clothes.

Below are some pictures from a shoot with Molly. You will notice that I was moving up and down as I was shooting these. I was also moving in and out (with my feet, since I don’t really use zoom lenses). I think this is an important point – allowing the kids to move around, and you yourself moving around, keeps everyone animated and engaged.

You can click on any of the images to see them larger. Enjoy…

Tech Info:
Natural Light
Nikon D70s
Nikon 35mm f2
Adobe Camera Raw – no actions or filters

Denver, CO | Follow Up | Quiznos Pro Challenge Press Conference

With today’s announcement of the route and host cities for next year’s Quiznos Pro Challenge, I thought it would be a good time to show a few more pictures from the announcement press conference back in August. My previous pictures from the event are over here.

I went downtown to hear the announcement and see if there would be anything interesting to photograph. To my surprise, thousands of cyclists showed up on their bikes to see the press conference and have a group ride with Lance Armstrong following the event. Needless to say, there was plenty to photograph.

I was mostly looking for interesting details and quirky situations, rather than traditional “news” or press conference images. The fact that I was shooting with a fixed 40mm lens certainly eliminated the possibility of getting close-ups of the speakers, but I do like the context provided by the crowd in the shots of Governor Ritter and Lance Armstrong speaking.

You can click on any of the images to see them larger and read the captions. Enjoy…

Tech Info:
Canonet QL17 GIII
Canon 40mm f1.7 lens (fixed)
Legacy Pro 400 (AKA – Fuji Neopan 400)
Ilford Ilfotec DD-X Developer (7min @ 20C)

Camera Scan
Sigma SD9
50mm f2.8 Macro
Photosolve Xtend-a-Slide

Colorado Wedding & Portrait Photography | New Business Cards

Up until recently, I have been using business cards designed in Photoshop, printed on photographic paper and cut down to 2″ X 3″. While I liked the way these cards reproduced pictures, they were not great for text, were thin, only allowed printing on one side and were slightly smaller than standard business cards.

Using lessons learned from creating my first business cards, I went ahead and designed a more traditional card and had it printed on heavy-weight recycled paper. The new design utilizes both sides of the card. The front shows my standard logotype as well as contact information and the short message “fine art documentary photography of kids, seniors, weddings & families”.

The back of the card contains three vertical images, one of a young girl (to represent child and family photography) another of a high school senior, and the last showing a bride. All three images are in black and white and were shot in my signature style – on location, available light, natural expressions, etc. Coincidentally, all three images were shot with the same camera and film combination – Nikon F100, Legacy Pro 400 (Fuji Neopan 400) film.

So take a look at these samples and let me know what you think…

Tech Info:
Business card examples
Cards printed on 100lb recycled stock

Images all photographed using
Nikon F100
Legacy Pro 400 film (Fuji Neopan 400)

Arvada, CO | Documentary Portraits | Family Pumpkin Picking

Halloween is here again! I hope you have your pumpkin picked out.

Below are some documentary pictures from our pumpkin picking adventure this fall. The whole crew went over to my Mom and Dad’s place where Dad has a big garden with a small pumpkin patch. The kids all got to pick out a couple of pumpkins and there were still a few left over to give to some of the kid’s friends.

I really like these pictures for a few reasons… first is the light. We did this in the late afternoon, so the light was warm and directional, perfect for these kinds of pictures. If you are scheduling a family event that might provide good photo-ops, always try to take advantage of the light at the end of the day.

Another thing that I like about these pictures is the authenticity. Everyone looks real. Julie and Luke just got out of work, so they are wearing their work clothes. Dad is pretty much always dressed just like this – jeans, pocketed t-shirt and a big hat (in the winter he adds a flannel shirt). It’s the end of the day, so the kids hair and clothes are messy, and they have stuff all over their faces – just as you would expect. These pictures really document our family, not some idealized version, our real family.

This kind of authenticity is what I always strive for in my documentary portrait sessions – family fun, real locations, natural light, comfortable clothing – perfect. So if you have a family event coming up that could benefit from some authentic documentation, give me a call.

You can click on any of the images to see them larger. Enjoy…

Tech Info:
Late afternoon light
Nikon D70s
Nikon 35mm f2.0
Adobe Camera Raw

Arvada, CO | Documentary Portraits | Jaxon Playing Outside

This is Jaxon. He is truly a boy’s boy. He is happiest when he’s eating, sleeping, or playing outside. He loves to run through the rocks, weeds and grass. He loves to play with sticks. And most of all, he loves to push his jeep.

These are documentary portraits of Jaxon doing his thing. For this set of images, I really wanted to show him in his element, so we went outside in the morning, when the light is good, and before he has a chance to get tired and cranky. I pretty much just followed him around and waited for him to do something interesting. He didn’t need any direction, I would occasionally say his name, just to get him to look at the camera.

My camera selection was based on my desire to place Jaxon in context. I wanted it to be obvious that we were outside running around and playing. So I went old school – these were shot using an old fixed lens rangefinder camera from the 1970’s. Notice the soft corners in some of the images. That is one of the great things about using old film cameras and lenses, they each have their own unique look that can really add to the feel of the shots.

One thing I especially like about this particular camera is the fixed 40mm lens. It is close to a standard 50mm, but just enough wider to give more context to the images. However, it is not as wide as a 35mm, which can show distortion in portrait images. 40mm really seems to be the sweet spot, at least for me.

You can click on any of the images to see them larger. Enjoy…

Tech Info:
Canon Canonet QL17 GIII
Fixed 40mm f1.7 lens
Legacy Pro 400 (AKA Fuji Neopan 400)
Ilford Ilfotec DD-X (7min @ 20C)

Camera Scans
Sigma SD9
Sigma 50mm f2.8 Macro
Photosolve Xtend-a-Slide

Denver, CO | Byers-Evans House | Wet Plate Collodion Demo

Last weekend I went to a wet plate collodion demonstration at the Byers-Evans House Gallery here in Denver, CO. Leading the demo were Mark Sink & Kristen Hatgi. Mark is a well know photographer living in Denver, who currently has a show hanging at the Byers-Evans House (highly recommended). He and Kristen have been collaborating on fine art wet plate projects for a few years and they share their expertise through demonstrations and workshops.

Wet plate collodion is an antique photographic process that was in popular use at the time of the Civil War. If you have ever seen an old Tin Type, you have seen a wet-plate image. The process is pretty complicated and involves:

  • Setting up a portable darkroom
  • Coating a sheet of glass or tin (they now use aluminum with a black enamel coating) in gun cotton
  • Adding silver halides to the plate (in the dark)
  • Putting the plate in a “film” holder
  • Composing the portrait on a large format camera
  • Locking the camera down and inserting the “film” holder
  • Exposing the wet plate for a few seconds (the sitter has to remain motionless)
  • Processing the wet plate in the darkroom
  • Waiting for the plate to dry
  • Varnishing the plate to protect it

Why would anyone go to all this trouble? The number one reason is that the resulting images are beautiful, with great tonal range, swirly out of focus backgrounds, and interesting imperfections from the totally hand crafted process. Another aspect that makes these images interesting for fine artists, is that the resulting images are one-of-a-kind originals. They can sell this original image like a painting, it is totally unique. Of course it is possible to make a scan and create reproductions, but there is only one original.

It was really exciting to see the process unfold. I don’t know that it is something I would start shooting, it uses some potentially lethal chemicals – 100% pure grain alcohol, gun-cotton, ether, and cyanide – but it certainly inspired me to think about ways to improve and expand my own portrait work.

This week, I pulled my old 4X5 camera out of storage and started brainstorming ways to incorporate it into my arsenal. That led to thinking about the pinhole photography work that I did back in college. Now I have at least two new projects to explore. That is something I love about photography, there are always new things to learn and new paths to follow. I will put this new work up on the blog as I experiment and test.

Below, I have added a few documentary images from the demonstration. If you scroll all the way to the bottom, there are four cellphone snaps of the tin-types that Mark and Kristen created during the demo.

You can click on any of the images to see them larger and view captions that explain what is going on. Enjoy…

Tech Info:
Canon Canonet QL17 GIII
Fixed 40mm f1.7
Legacy Pro 400 (AKA Fuji Neopan 400)
Ilford Ilfotec DD-X Developer (7min @ 20C)

Camera Scans
Sigma SD9
Sigma 50mm f2.8 Macro
Photosolve Xtend-a-Slide


Tech Info:
Cell Phone snaps with my LG Dare
A lot of Photoshop work to make them presentable

Documenting Your Family | Photo Tips | It’s Your Frame, Use It

  Probably the most famous documentary photographer of all time was Henri Cartier-Bresson. He was best know for images that capture the “decisive moment” (a phrase that he coined). And while his images certainly embody this idea, I think there is another aspect of his work that is too often overlooked – his conscious choice about every element that was included in (or excluded from) his frame. He typically worked with a Leica rangefinder camera, meaning he was not looking through the picture taking lens, but he was still able to beautifully frame his photographs. Neither leaving in extraneous elements or omitting important aspects of the image.

When you are out making pictures of your family, it is important that you be conscious of what is in your frame. Notice that I wrote making pictures, as opposed to taking pictures. That is what you are doing, you are making the decisions about what you include in your frame. Include elements that add to the story or give context, exclude elements that are unnecessary or distracting.

In the two pictures above, you will notice that one works and one doesn’t. The person walking through the background in the second image is distracting and really should not be there. For these shots, I had made the conscious choice to stop the bottom of the frame on the black rubber of the swing and not include Molly’s legs. This did a few things, it helped center her face in the frame, it allowed me to add a lot of the chains to help explain what is going on, and it shows a lot of the climbing wall in the background, adding context to the image. Now it takes a lot longer to write (or read) all of that than it does to actually come to the decision. After you start thinking in this way, it becomes pretty instinctual.

So what went wrong with that second frame? After I had made my decisions and framed the shot, I could only shoot one frame every time Molly swung into the proper position. In the first frame it worked perfectly – Molly swung into frame, I clicked the shutter – bang! – properly framed and focused image. Immediately after I made this image, a woman walked into frame from camera right. I was so busy concentrating on Molly’s position, I didn’t even notice… Until just after I pressed the shutter. No great loss, it was only one frame and I could even crop it to a square and exclude the background if I wanted to. Also, this was a pretty complicated situation. Normally it is pretty easy to look over your entire frame before clicking the shutter.

The trick to nailing this technique is simply to make it a habit to look around your frame before making the picture. I always start by deciding what is my center of interest (the most important thing in the picture) and then placing it where I want it in the frame (generally NOT dead center). I then let my eye do a clockwise lap of the frame edges. This picks up anything weird going on in the rest of the image. I am especially watchful for things that might be cut-off or jutt into frame.

The above process will seem slow at first, but as you get used to it, you will pick up speed and before long it will become a habit and you won’t even realize you are doing it. This habit should really improve the quality of your pictures, especially if you are using a point-and-shoot digital camera where everything is always in focus.

So give this technique a try and let me know what you think.

P.S. Here is the second image cropped to exclude the distracting background…

Tech Info:
Nikon F100
Nikon 50mm f1.4
Legacy Pro 400 (AKA Fuji Neopan 400)
Richard Photo Lab