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Working fast and light in a small factory

I have been photographing for this client for so many years, they are now way into the good friend category.This winter they asked me to start making some portraits of a documentary nature, featuring their production staff and customer service.

Here’s what I did a couple of days into the new year of 2012. This is their fabrication crew. They didn’t slow down a bit for me.

I was working two little lights with color correcting gels on them. Sometimes I had the D700 on a tripod, sometimes not… all were made with my old 28-70 2.8 Nikon. The ambient light was pretty typical overhead warehouse lighting, and some high and very yellow translucent panels the length of one wall, about 20 feet off the ground. You can see some of that in a few of these out takes. I like this gritty duotone treatment, but they will probably want color, which is why I use the color correction on the flashes to get them as close as I could to the vague, rambling Kelvin of the insanely mixed temperature light sources.  Plus the sun was in and out all afternoon, pushing EVs, color temperatures and the relative lighting ratios all over the place.

Before and while I worked, no one came in to clean up the shop, no suits from corporate appeared to affect attitude, no art director stopped production to rearrange the work space, no make up was applied.  I moved a few trash cans and a broom, mostly to remove an errant highlight and keep the compositions as I wanted them. I loved it, and worked alone (without an assistant) for about three hours.

Here’s a sample… my quick edit.

Shop Forman

performance art

springs, ready for assembly

at the lathe

the lathe that is older yet more precise than me

sanding the edges of a plywood armature

an anthropomorphic plywood form, glued and clamped, dries overnight in the empty warehouse

assemblyman

drill press

my kind of color palette, in the high window's light, end of day

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