Or I will hound you. Incessantly.

Brazen exhibitionist that I am, I immediately volunteered to present at the opening night reception. I’ve actually given this presentation a couple of times but it was especially nice to give to a crowd with a good concentration of native Japanese folks. One of the nicest comments I got was from Ayako Smethurst, Program Coordinator for the JET Program at the Japanese Embassy, who said that the photographs transported her back to her own elementary and junior high days in Japan. So there you have it: independent verification that my stuff is the real deal.

Or should I say, #theRealDeal.

The event was recorded and I hope to have a video link for you shortly. In meantime, here’s my presentation in so many words and pictures:

The first thing I had to learn was how to take off and put on my shoes quickly and gracefully without sitting down or using my hands. A clear line between inside and outside can be seen throughout Japanese culture. These are courtesy slippers laid out for visitors to wear inside the school on Graduation Day.

The second thing I had to learn was how to respond positively to the typical reaction foreigners get from kids (and sometimes adults!) in Japan. This is first-grade Tomohiro after our first class together.

I also learned that my schools were tasked with instilling and maintaining a uniform sense of “Japanese-ness” in not just the students but their language, their behavior and even their physical appearance. Which 2nd grade Haruka (or likely her parents) are attempting to redefine with her dyed brown hair.

To build global cultural awareness, I did a lot of typical American cultural activities in class, like making Valentine’s Day cards. I let the kids decorate the cards however they wished – the girls would cover theirs with cute animals and rainbows, the boys with guns, robots, and Pokemon.

I also did a lot of roleplaying activities in class. Japanese theatre has a long tradition of men playing women’s roles that continues today. I find this photo of 6th grade boys playing with some of roleplaying props after class an interesting analogue.

On the left is Saki, in the fourth grade. Students are taught that the keys to success are discipline and practice, practice, practice. Every day at recess, while other students careened around her on the blacktop on their unicycles, Saki would rock back and forth in place until she could balance perfectly, even at a standstill.

Students also learn respect for nature and the environment at school. In the 2nd grade, it seemed like all my students, including the girls, went through a phase of keeping insects as pets. This is third grade Tsubasa with his new pet, a praying mantis he had just discovered on the playground.

Teachers work long hours in Japan. A typical teacher’s weekday would begin at 7am and end around 6pm, although the school day officially ends at 5pm when the students go home. Teachers also work weekends as sports coaches, chaperone at town festivals and events, and escort students to high school entrance exams and academic contests. Here, the junior high science teacher catches 40 winks at his desk after a full day of graduation events.

Japan is a vertical society with the older members responsible for transmitting knowledge to the younger (and ostensibly, obedient) members. Here, at an all-school carnival, 5th grade Hiroki shows 3rd grade Akio how to shoot a rubber band gun while, in the background 5th grade Natsuka guides 2nd grade Ruka into position.

Sports Day is one of the biggest events of the school year. Students spend over a month practicing relays, making costumes and learning dances. Here, you can clearly see the vertical hierarchy with teachers on the right setting an example for the 6th graders in the middle who, in turn, are leading the whole school in opening warm-up exercises.

Schools are also tasked with teaching students teamwork and how to function harmoniously in groups. Consequently, baton-pass relay races figure prominently into Sports Day. Each grade has their own relay – here are the 4th graders passing the baton in their final lap.

It is said in Japan that the only real friends you have are the ones you made in grade school. I think this is especially true for students in small rural communities who generally graduate from junior high school with the same 20-30 classmates they entered kindergarten with.

The final performance at junior high Sports Day is a circle dance choreographed by the 9th graders. As Sports Day is the last major school event before they enter what is commonly known as “high school entrance exam hell,” this is one of the last times for these kids to be truly happy and carefree at school.

The next three slides are examples of unique challenges I faced teaching English in Japan. Students who refuse to speak at school, like Miku here in the second grade, are not unusual. How could I make speaking English fun for a student who didn’t even want to speak her own language?

I also had a number of students who didn’t attend school regularly, like Aoi here in the 6th grade. She was isolated from her peers and awkward in group environments. How could I encourage her to participate in and enjoy group activities in English class?

These twins were diagnosed with autism and attention deficit disorder. They absolutely adored curry rice and Nintendo games and could take about both for hours. So we did. In English.

The boy on the right is ashamed. He’s refusing to join his classmates in a graduating class picture because, unlike them, he hasn’t gotten into a high school yet. High school attendance is not mandatory in Japan and competition for schools in the rural countryside where students have few options, is fierce.

This is the final procession at graduation. Non-graduating students and teachers form a human tunnel called the “hana-michi,” which means “flower road.” Here, it symbolizes how each student, like Ayaka above flashing double peace signs to her mom’s video camera, has blossomed and is ready to move on to the next stage in life.

These students are getting ready for school dismissal. Every day after school, regardless of weather, all students would gather in the school courtyard to listen to announcements from teachers. During these announcements, they were expected to stand neatly and silently in rows and listen attentively. But in the ten minutes or so it would take the entire school body to come together with their hats, coats, backpacks, artwork, science projects, homework, PE uniforms, etc., they’re just regular kids – free to relax and play. (This incidentally, is the photograph that was chosen for the exhibition)

A note: my favorite part of this picture is the discarded glove in the lower left. Wherever there be kids, there are also discarded gloves (and socks and hats and pencils and..)

The students in the picture above came from the New Community for Children and had painted one of the new window murals decorating the Convention Center. They even got to help Mayor Fenty paint one of the murals before going on an arts walk to see all of the murals and meet the artists.

I noticed a couple of kids were interested in me and my camera and so I asked them if they wanted to take a picture. Of course, the answer was yes. So, that’s me showing Jordan the proper way to hold a camera – the photo is courtesy of Ruth Chan, director of the NCFC.

I initially planned to have both the zebra and the giraffe in the picture but I really like just the giraffe by himself, just enjoying another lovely sunset down on the reserve.

I expected this to be an easy shot and, for the most part, it was. Once I made some gels to fit inside the snoot (“Well, I might as well cut smaller gels for all the colors instead of just one magenta one…”) and figured out that the LumoPro is stymied by the ST-E2′s preflash signals (Solution: Connect the LumoPro to the camera with a cable and turn off the optical slave), that is.

I had a lot of fun building this set – I made the landscape from a green napkin laid over two sock rolls. The trees are a couple sprigs of curly parsley held up by photo clips. The pic below shows the final setup. Wayne says I need to tell you all that I didn’t turn off the overhead kitchen lights during shooting because apparently, that is the kewlz.

ISO 200, 1/180th @ f/8. Background light: 580EX II at 1/32th power, snooted and double-gelled (purple and Full CTO). Key light: LumoPro 120 at 1/16 power, fitted with a grid spot, tinfoil gobo, and Full CTO gel. Tiny foil baking pan reflector.

For the portrait above, I didn’t use the reflector – just a grid spot on the flash and the flash head zoomed in completely. For the portrait below, I setup a mirror as a reflector to light up his cape.

Scope the low tech setup here:

ISO 200, f/11 @ 200/sec. Canon EOS 5D with 50mm macro & ST-E2 transmitter. 580EX II at 1/8 power with homemade grid. Tinfoil reflector.

Since I’m getting ready to go out of town for a couple days, the food situation is looking pretty thin. I also wanted to play around with some new gels I made earlier this week so I decided to use toys for today’s challenge.

Step One: Determine depth of field and overall lighting tone.

1/180 sec @ f/2.5

In this composition, the background light will provide the overall lighting tone for the scene. When working with flashes (or any non-ambient light sources), use the camera’s shutter speed to determine the amount of ambient light and the aperture to determine the amount of flash light. Remember that aperture also determines depth of field so the trick is to determine how much depth of field you want and then adjust the light level to be brighter or darker until you reach the tone you want.

The background here is lit with my trusty IKEA desklamp, gelled with a homemade red gel.

Step Two: Set your main light levels

1/180 sec @ f/2.5

Once you get your background tone set, set up your secondary lights. In this case, I wanted to just feather the mainlight across Black’s back and sort of carve him out of shadow just a bit with the flash. To keep light from spilling onto and weakening the red light in the background, I fitted the flash with a gridspot and zoomed the flash head to its max setting.

I adjusted the flash settings until I was happy with the amount of light hitting Black. Light from the flash isn’t spilling on to the background but it is illuminating the table somewhat (visible in the lower right corner).

Step Three: The Mighty Gobo

1/180 sec @ f/2.5

Gobo is short for “go-between.” and means anything you can put between the light and subject. Gobos can be used to create patterns and texture (these gobos are often called “cookies”) and are often used to block the light. They don’t have to be anything fancy – you can make a gobo from black card, cardboard, fabric or tinfoil, as I did above. Tin foil’s quite nice as it can be molded and stands easily on its own.

I’m pretty happy with the above picture so now it’s time to play with reflectors.

Step Four: Reflecting the light

Here is the same scene with a 10cmx10cm folding mirror placed opposite the flash on camera left.

Here is the same scene with a piece of letter-size plain paper folded in half placed opposite the flash on camera left. Compare the two pictures above – the paper-reflected light is much softer and more diffuse than the mirror. Neither is necessarily better – whether you want a diffuse or hard highlight is up to lots of things, including the client, the art director, the bride, the magazine, and sometimes, even the artist.

The Setup

Gear Notes: Canon EOS 5D with 50mm macro lens. ST-E2 Remote Transmitter & 580EX II flash. Table lamp fitted with Honl Photo speedstrap and homemade gel. Leksvik kitchen table by IKEA. Tinfoil from CVS. Printer paper from Staples.

The action figure is Butterfly, one of three assassins from Taiyo Matsumoto’s great comic, Tekkonkinkreet (published as Black & White by Viz in the US). I started with a two-light setup: one light trained on the background and gelled with a Full CTO, the other with a homemade grid and focused on the subject.

Camera: 1/90th@f4, ISO 200. Flash: ETTL mode, -3EV

For you portrait geeks, this is a comparison of two common and similar portrait styles: Rembrandt on the right and loop on the left. Light illuminates pretty much the whole mask of the face in loop lighting, which is named after the loop-shaped shadow that forms under the nose. In Rembrandt lighting, the subject is turned somewhat away from the light and only the triangular space under the eye is illuminated.

As satisfying as these pictures may be, they illustrate one of the main conundrum of the wedding photographer: balancing the color cast of ambient light (in this case, quite orange) with the very cold light of the flash. Regardless of whether you shoot with your white balance set to flash or auto, if the main light source illuminating your subjects is a naked flash, your subjects will look colder than much warmer ambient-lit background.

Camera: 1/90th@f4, ISO 200. Flash: ETTL mode, -3EV

The solution is to gel your flash and bring it close to matching the color temperature of the ambient light. Honl Photo makes a nice kit that fits every flash I’ve ever owned and works with their Speedstrap system. It even works with the cheap IKEA lamp I used to illuminate the background. For the photo above and the following two photos, both the lamp and the flash illuminating Butterfly’s head and shoulders are gelled with a Full CTO.

In order to keep the light focused on Butterfly and off the background, I put a homemade grid on the flash and zoomed the flash to its maximum setting. The grid spot keeps the light even on the illuminated areas and falls off dramatically at the edges. You can clearly see the difference in lighting between the non-gridded flash above and the gridded flash below.

Gear notes: Canon EOS 5D, 50mm macro lens, ST-E2 Remote Transmitter, 580 EX II flash on its own cute little stand, homemade grid, Honl Photo color balancing gel pack & speedstraps, and one very cheap IKEA desk lamp.

Or, for the more formally art-trained: Using perspective and camera lens distortion to make an object in the foreground seem larger than an object in the background.

The age group I teach on Wednesday is 11-14. We covered camera basics last class so today I figured I’d ask them to check their ISO settings and white balance before we went out. Predictably, about half of them looked at me blankly.

A side note: One of the first things I learned as a teacher is the importance of review, especially for weekly/semi-weekly classes. I don’t do it formally – I just ask them to do the same stuff repeatedly from class to class. The real payoff comes on the day when we get ready to step out the door to shoot and someone asks me “What ISO setting?”

Malcolm X Park is just two blocks away from Sitar Arts Center so we hiked over there with the cameras and a bag of plastic cowboys and indians from a Fort Apache set I found in a box of abandoned toys walking home one night.

(It was a remarkable score, actually – a half-complete Fort Apache set, a great Superman figure with obvious Bruce Timm styling, a Spiderman with magnetic hands and feet, a smattering of Harry Potter Legos and quite a few Lincoln Logs mixed in with 4 cans of spray paint and a bunch of other toys that I ended up putting out in front of my own house. Recycling tip: If you want to get rid of boys’ toys, put them out in a hipster neighborhood. If the scruffy-converse-wearing guy next door who plays bass in a band doesn’t pick them up, his bearded poet buddies will race their mutton-chop tattoo artist friends for them.)

But I digress. I knew that the cameras the kids have would have trouble focusing on the foreground objects and they did. It’s probably a little underhanded but I like creating situations for students to make what seem like mistakes. It’s easy to forget successes (especially when you don’t know there was even potential for a flub at the moment you succeeded) but mistakes are rarely forgotten.

After 20 minutes or so, we came back, downloaded the images and critiqued them, covered focus lock and then I set them loose in the lobby to see what they could accomplish by 4pm. They were much improved – particularly rewarding were the 2 girls so into it they forgot what time it was.

For those of you interested in the technique, there are a few requirements: you need a wide angle lens, preferably with a macro. Set your aperture however you prefer but try to keep your shutter speed reasonably fast if you’re comparing moving objects. A steep perspective works in your favor so don’t space your foreground object too far to the side of your background object. Click away until you’re satisfied.

Just for comparison to the image above, below is the actual size relationship between Mr. Apache and my wide-angle zoom lens (which is generally about the size and weight of your average brick).

The human eye can see a much wider gamut of light than even the most expensive camera. Caught up in the passion of “OMG! That’s so cool! I gotta get a picture of it!”, it’s easy to forget that the camera doesn’t quite see it the same way as I do. Exposing for the super-bright moon renders everything else black and exposing for the ambient scene around it loses the moon in a haze of brilliant light.

This picture is the most satisfying of the bunch but clearly the challenge deserves more consideration.