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It’s not a matter of deciding who wins the fight: subjectivity or objectivity.  Rather it is more like the circular nature of a ring that neither begins nor ends and being aware where our photo lies on the spectrum and if that position best communicates what we intend with our photograph.

Let’s first consider the sequence of events when the character of the lodger is introduced. The coin is put in the gas meter, the lights come up, and Ivor Novello’s eyes are highlighted while standing backlit in the doorway.

When considering a body of images for a project, pay attention to the sequencing.  Do viewers need information to make sense of subsequent images?  Do you want them to experience surprise or layers of understanding?  Decide what you are trying to say first and sequence the images in that order.  Play around with them.  Have people you trust look at the sequence and give you feedback.  Print them at the same size they will be presented when going through the order.  What made sense at 4×6 may look awkward at 11×19.

Be willing to use different kinds of lighting.  A backlit portrait where you see just an outline may be more effective than one lit with “Rembrandt” lighting. Also consider combining lighting, such as the backlit image with a portion lit from the front. Decide if you want the lighting to look natural, theatrical, surreal.

Finally, it is reported that Hitchcock was not 100% satisfied with Novello’s performance. Although Novello was very popular, he did not seem to fit as the leading man or as a threatening character in this movie (compared with, for example, Cary Grant in Suspicion.)  Still, as photographers, we have to work with the subject we have, and use it to best advantage. As Pep Bonet said in a Kodak interview, “…There are no excuses in photography…You either have it or you don’t.”

I have been dealing with them for years, and hands down they provide THE BEST customer service and tech support ever.  Ever.

If you are tired of dealing with confusing interfaces between you and your web site, and customer service that can only read from a script to help your problem, it’s time to make a switch. I recommend  MacDock.  Prices start at $19.95 / month. Although it’s not the cheapest service around, this is one case where you DO get what you pay for.

I used to enjoy this “office” away from home: good music, good coffee, and a shared community of under- or self-employed people.  However, I have noticed a trend recently where the electric outlets are starting to be removed or sealed shut.  Clearly, if you don’t come with your computer fully charged, don’t expect to stay at Starbucks too long.

While I recognize that most restaurants depend on table turnover to maximize sales, Starbucks is such a carry-out business, that to penalize customers who stay longer than 2 minutes, is thankless to those who have helped build the Starbucks culture.

In the past 15 minutes as I was working on my blog, four people came in, looked around to find a table to do computer work with, could not find an outlet and left.  In fact, as I look around there are 8 empty tables that used to be full this time of the day.  So I am not convinced Starbuck’s strategy is working to maximize income.

As for me, I’ll battle my cat for use of the computer at home. (She’ll win, of course.)  After all, my coffee isn’t THAT bad.

Each Tuesday, as I progress through the book, I’ll present my thoughts on some of Battenfield’s suggestions. You may find some of the ideas useful in your own work, or if you have purchased the book, you can use my thoughts as a counterpoint to your own work as we navigate the book together.

This week I am starting with the Introduction. When I picked up the book in the store and flipped through the pages, one sentence immediately caught my eye: “Being an artist is a profession.” As soon as I bought the book, I immediately underlined that sentence.  It’s a line I return to whenever I am not feeling grounded, or when after a period of creativity, I need a reminder to send emails, look at budgets, and do the same kind of work–just like every profession–that is needed to not only survive, but progress.

To start the series, let’s consider The Pleasure Garden, one of his first films from 1925 that still survive and can be seen on DVD. Our wee lesson today comes from behind-the-scenes when the production crew, trying to save some money from their tiny budget, attempted to smuggle film stock past customs during a location shoot. The film was confiscated, they were fined, and had to buy new film. Hitchcock, I have read, was forced to borrow money from the actors to pay for expenses and is reported to have arrived back in London from the shoot with only a penny. (Probably a farthing.)

We can take comfort knowing that The Director who would come to thrill us with Psycho, Vertigo and North by Northwest was also very conscious about budgets, and even he came from very financially-strapped beginnings. When we, as photographers, grouse about not having enough cash or film or the “latest and greatest” camera, we can remember to shut up and make art with what we have. Anyone who has enjoyed watching the Pleasure Garden, and has read about the production problems of making it, will appreciate that artists can overcome financial and technical problems to create satisfying work.

Although the box speed indicates ISO 400, Kodak’s tech pub starts exposure recommendations at f/11 and 1/500 for sunny / sharp shadows, making it an effective “sunny 16″ of:  f/16 and 1/250.

Consequently, under the spotlights, I expose the film at f/2.8 and 1/125.  As expected, shadows in the background went completely black, leaving the performers more highlighted and the colors saturated.  If you want more shadow detail open up 1/2 to one stop.  If you catch the actors at still moments,  try shooting it at f/3.5 and 1/60 under bright spotlights for a little more depth of field, but you do risk more motion blur.

I don’t think this film has the same exposure latitude in the highlight area as Portra 400 or 800.  Especially given the extremes of stage lighting with the spotlight and black background, I’d bracket the exposures to make sure you get the range you want.

Also, depending on your stage lighting, the gels may tint skin tones, so you may want to add some fill flash to balance it out, or simply be aware of the effects on your prints, or scan the negatives and alter it in post processing.

In short, meter the stage lighting with an incident reader if you can for best exposure, and rate the film at 250-320 depending on your needs. If you don’t have a meter, under bright spotlights, expose at f/2.8 and 1/125 and bracket exposures. The Ultra Max 400 is perfectly acceptable and produces rich colors and details.  For a little more exposure latitude and slightly softer skin colors, stick with the Portra.

Definitely the highlight of a gallery hop in New York, Seftel’s abstract art is a blend of texture and color (think cool patina embracing rusty earth), with an organic sensibility that feels timeless and contemporary. The resulting effect is that you want to both stand back to take in the visual sensuality and then embrace the canvas. Well, the second action may be frowned upon, that is until you’ve purchased his work.

If you’re in New York City, you owe it to yourself to visit his project space. Otherwise, content yourself for now with a click to his site.

The Place Where Spirits Enter – Summer select works

Paul Seftel Project Space

548 West 28th Street, 3rd Floor, (970) 376 1577