7.05.2016

A Portrait of a Graphic Designer. In the studio on Westwood Terrace.

©Kirk Tuck

When I lose confidence in my abilities as a photographer
I run back to the very basics and start my 
education all over again. 

One light. One subject. 

Then I regain my footing. 

It would be so sad if we couldn't light people....

It was impossible to do commercial photographic work with digital in the early years of this century because, you know, resolution and noise.

Image from Kodak 660 and Nikon wide angle lens, circa 2000. 

And dynamic range. And sharpness. And color.

Hmmm. Maybe it was just a learning curve.

(Sarcasm strongly implied).

Shooting food at Manuel's Restaurant for their website.







Portrait made in the 500 San Marcos Studio. Big light, slow film.

©Kirk Tuck

Hand printed on the premises.

A Portrait Made with Agfapan 25 and a Big Light.

Anna-Marie in the 902 Studio.


All that matters is what the audience sees.



Primary Packaging. New York.  "A Chanel Press Sheet".

The pendulum swings.  We revered available light.  Then everything got lit with big softboxes.  Then we revered available light.  Then we lit things with lots of small flashes.  Now were heading back to our reverence for available light.  When I went on this job in NYC I took a few lights and some umbrellas with which to modify them.  But the entire factory was lit by white, translucent windows that ran the whole length of the building.  You can see the windows in the background.  The rest of the plant was suffused with a mix of skylights and florescent lights.  The light had a direction and texture that was so rich you could reach out and taste it.

We carted the lighting stuff around but we only used it for a few images done in conventional offices on a different floor.  On the press floor it was all about the unguent, luscious light.  It was a job that changed my point of view about lighting.  For the first time I realized how important it could be not to light.  And I loved that.  That's when I discovered my abiding love for tripods.  That's next.

These are copies of prints we made on DW fiber paper (Oriental Seagull) for the agency and client.  No exif as they were on film.  Hasselblad 501cm,  top image:  80mm.  Bottom image:  120 Makro Planar.  Film:  All Tri-X.