A.D. Drumm Images, LLC – Landscape, Portrait, and Fine Art Photography in Rochester MN Photography

April 14, 2012

RCT 2012-2013 Season

Filed under: Rochester Civic Theatre — Tony Drumm @ 10:49 am

Last night, after the opening performance of Chicago (an awesome show, by the way!), Rochester Civic Theatre announced their next season which begins this September. With the new shows unveiled, I can finally show you the show posters I’ve been working on!

I was just looking at the files on my computer. I began working on RCT posters for the 2006-2007 season. I’ve had some posters I’m quite proud of, but my skills in lighting and taking the photos that form the basis as well as my Photoshop chops have improved a ton. Learning is part of being an artist, and I hope I am always able to look back and say, yes, I’m better today.

I thought I’d present the posters in order of the coming season which starts with Kill Me Deadly. This is, in fact, my favorite. The idea – Greg Miller, artistic director at RCT, again developed the basic concepts – was to model this after a film noir poster from the movies. We used  Bogart’s Maltese Falcon as our model. Greg and I collaborate from the outset, and I send proofs to Greg during the process. Is this what you were thinking? Thoughts? Greg sends back his ideas, notes my misspellings(!), etc. For this, it was, can it be more painterly? More graphic, less photographic. Okay. Let’s try this.

An interesting turn was the background. I had a nice black to transparent gradient behind the models, not unlike what you see here. But at some point, I decided to use one of the newer painting brushes in Photoshop CS5 and just draw in a background by hand. I loved it right away. Added some layer effects to our hero to set him off from the background, and we were down to just tweaking. I think I’d enjoy having this one printed up big and hung up like a movie poster.

Next up is Flowers for Algernon. I don’t know this show in detail, but I’ve heard it compared to an old film, Charlie, which I saw years ago when it was in theaters. This was fairly straightforward, trying a few different concepts for the mouse – how it looks, where it sits. One of my final changes was to intertwine its tail slightly with the “w” to make it feel more connected. I began with a plain background and Greg suggested finding “smart things” to put there. That worked pretty well. I had some different color variations but ended up with a pretty monochromatic palette, which I think works.

Photographically, the poster for The Neverending Storywas the most interesting. I needed to light the boy’s face as though the light emanated from the book itself. He was a trooper, letting me shoot several shots with small adjustments, getting things right, while being blasted in the face by a gel’d flash.

The December show tends to be something with wide family appeal for the holidays, so this show should fit the bill. It will have it’s technical challenges, too, I’m assuming. Dragons and all.

Part of what I love about the posters for this season is the variety. We go from a very photographic image to a pair that are quite graphic and non-photographic. The family of three in this image was one I showed a while back in an earlier preview post. Since I use photos as the core of the posters, I made sure I shot this from the proper angle. It works so much easier and better than trying to morph the angle and perspective in post processing. I stood on a ladder to take this shot.

The long shadow deserves a second look as the effect there – as it was in Greg’s original sketch – shows subtly the theme of this show. It’s amazing how adding the background texture to this image makes it whole. It somehow connects the elements producing a very different look than a plain background.

The 2013 spring musical will be The Marvelous Wonderettes with a lot of classic 50s and 60s music. The logo for this show was provided to the theatre, so it became the central element. We shot this photo with our four female models and, as you might guess, I basically traced their forms. When I was a kid, we had an artist in the neighborhood who taught art classes in his home on Saturday mornings. Mom knew I loved to draw, so she signed me up. I took his classes for several years. I’d never claim to be much of a painter, but I did learn a lot which helps me in my photography somewhat, and certainly helps when I have tasks like this. I think I did a reasonable job with things like the necklaces and other elements. He’s no longer with us, but I think of Joe Saling whenever I do something like this.

Kayley was blowing a big bubble for our photos, but I ended up creating a bubble from scratch to work a bit better. She also had a short wig that didn’t come across very “girly,” so Greg asked if I could add a pony tail. That helped a lot. I pulled colors from the logo except for the hair, and added a bunch of stars to the background based on those in the logo.

As it turned out, the last show for next season, Rounding Third, was the first poster I did. We had a couple ideas for this poster and ended up with this one. No human models, so I was able to begin working on it right away. I borrowed a baseball from a fellow at work who provided several from which to choose. This one had enough dirt and character to be interesting. I began with a black background. Greg suggested a ball field. Well, I just happened to have some shots I took years ago that worked. I gave this a hint of the sports magazine cover look that I used last season for Home Games. But just a hint.

That’s it – six shows that look like the makings of a great season. Season tickets and RCT memberships are on sale now. If you’re in Rochester, I highly recommend becoming both a member and a season ticket holder. If you don’t know much about RCT and the quality of their productions, buy a ticket to Chicago and see for yourself. The talent on- and off-stage is remarkable. It’s a bargain, and you’ll be helping keep the arts active in Rochester. There’s really nothing like live theatre. And, by the way, you’ll be able to see much bigger versions of my posters!

April 5, 2012

Cousin Ron – Remembering

Filed under: Personal — Tony Drumm @ 7:29 pm

I come from a family of two children, my sister and me. Grace and I got along pretty well as brother and sister (except maybe that time I needed stitches…), but she was several years my senior. She was six years ahead of me in school, started college and moved out of the house in the late ’60s before I started high school.

In our extended Italian family, most of mom’s siblings had few children. Sort of odd for an Italian family, but that’s how it was. Uncle Mike was the exception. But mom was nearly the youngest of her siblings and my folks were older parents, so I actually had no first cousins my age. In fact, there were children of my first cousins older than me. But my cousin Ron was only three years older than me. He was the only child of my mom’s sister Mary. We spent a lot of time at Aunt Mary’s house and with her family at our house. Ron and I got along great, and looking back, we were in many ways like what I imagine brothers are like.

I looked forward to visiting with Ron (back then, he was Ronny – oh, and I was Anthony!). I never really considered that he was so much older than me but didn’t seem to mind hanging out with me. When you’re 6 or 7, three years is a lot.

When my parents passed, I did some sorting through old photos. There are many more to go through, but I brought a few home. Looking through them yesterday, it struck me how there are snapshots of events, and there’s Ron, often beside me.

Usually with a smile on his face – happy to be there. Happy to be with me.

Ron introduced me to comic books. He always had an assortment at his home that he let me read. Mom never bought me a comic book – dad probably thought they weren’t great reading for his son. Or maybe I just didn’t ask. But Ron had all the classics and knew them well. This was the era of the Batman TV show which we both disliked. I think we were too young to understand the tongue-in-cheek campiness of the show. Years later when I saw the Batman movie (the original cast one, not one of the newer serious movies), I was rolling on the floor laughing at lines like, “Hand me the bat-shark repellent, Robin!” Ron was there watching it with me.

We moved into a new development in 1960 on the far-north border of Columbus. As in, there were farm fields from our house north. Morse Road, for those who know Columbus, was a two-lane road, and there was an old airport just off Morse. Ron once told me about going into the airport buildings and finding a very old Coke machine with some rather sketchy bottles of Coke still in it.

As they began expanding the subdivision northward, we had a great place to explore. Houses under construction. Scrap wood to haul home. I think it was scrap. A bulldozer to play in. Or maybe, a bulldozer to start up. I vaguely remember we were shocked that the engine started and took off home. Like I said, we found mischief like I suspect brothers do.

We got older and interests changed. But Ron and I remained pretty close. My elementary school was grades 1 through 8, and high school was 9 through 12. I played football in 7th grade, pleasing my sports-loving father. But our “league” had a weight limit – 125 lbs. I barely made the cut-off, and for one game, I wasn’t allowed to play. By eighth grade, there was no way I’d be anywhere near 125 lbs. I was nearly the size I am now. The coach’s son, on the other hand, was a more typical size (tiny in my view at the time!). So there was no way he was going to move us to a bigger league. What to do.

I’d been taking drum lessons for a few years, looking forward to marching and concert bands in high school. Ron was in the band – he was a HS Junior then, and suggested why don’t I come by for a practice and see if the band director would let me play. We had a small school and a small band, so yeah, I could play. The snares were all taken, but there was an extra set of cymbals. So I joined the band in 8th grade and would spend 5 years playing – a wonderful part of my life. And it was Ron who got me there.

I got to spend two of those years with Ron in the band. We didn’t have a real home field then, so we played games at one or the other of the two local public high schools. We had to find our own transportation. Dad took me sometimes, but luckily Ron was driving by then. He had basically exclusive use of his father’s 1964 Dodge Dart. Ah, the Dart!

There was the time we were driving to one of those high schools, Northland HS. Northland HS is situated sort of in the middle of a housing development. We were on our way there and trying to remember which road do we turn on. They look a lot alike. Wrong choice – cul-de-sac. We got to the end and did the u-turn in the circle at the end of the road. As we reversed direction, there was a line of cars leading all the way back to the intersection. For some reason, they had all followed us! It was strange, but something I remember.

At the time, the Columbus outer belt, I-270, was under construction. There was a completed section at our end of town that went from High Street in Worthington to Cleveland Ave near Westerville. About 4 miles. That should be enough to get the Dart to 100 miles per hour. If we drove east, with the wind. It was, but not by a lot.

There was some road up north, near the reservoir, where Ron knew if you hit this hill going fast enough, you could get air. It was fun, so we’d do it repeatedly. Then we’d head to some pizza joint he knew about where the owner would fix an extra cheese pizza that had a ton of cheese. I’ve never seen anything like it anywhere else. We’d play pinball or just talk.

After the football games, many of the band members would head out for pizza and pop. There were two or three places we’d frequent. One night, we decided on the place on Indianola Rd. I don’t remember the name, but it was near Cooke. When we got there, we had a decent size crowd, but there was some problem. I think it might have been closed for some reason, but we just couldn’t stay there. But many of the kids had been dropped off. There weren’t enough cars and those that were there started heading out (to our favorite, Fortes on Cleveland Ave.).

Ron had the Dart, and I was riding shotgun. He looks around and says, I think we’ll fit! So we start piling in. And piling in. And piling in. Way more people sitting on the seats than the seats were meant to hold. Then more people laying on top of the seated people. Or at their feet, or behind their heads. Wherever.

We disagree about the count. I remember the total being 11. Ron swears it was 13. In a 1964 Dodge Dart. I already mentioned that I was adult size already. Ron was big. I don’t think the remaining 9 or 11 averaged out to tiny. Ron remembered someone’s head was under his arm. Yeah, that was me. We drove down Morse Rd (the wider version close to what’s there now). It was fairly late and traffic then was light that time of night. There was a red light ahead and stopped at the light was a police car! What to do? Do we drive up next to it like there’s nothing odd and take a chance of him looking over at the car, window-to-window with bodies? Or do we stop 100 feet back. That can’t be good.

Ron slowed way down, didn’t stop, but we were discussing it all the way. Then the light turned green and the cruiser took off. Whew! We made it to Fortes in one piece. But that’s an experience I will never forget.

There was the time Ron called and asked if I wanted to play football. I’d ride my bike the 3 miles to a park near his house. We’d play tackle football, Ron and a bunch of his friends, and me – the kid. Oh yeah, no helmets, no pads. I likely had a concussion at one of these events when I was airborne and landed on my head. But I road my bike back home, happy to have had some fun playing football.

After Ron graduated, we spent a lot less time together, mostly only at family gatherings. Thanksgiving was always at our house. Christmas was at Aunt Erma’s. I did college, my skydiving thing, then graduated and left Columbus. I returned to serve as an usher for Ron’s wedding, but we only saw each other on and off over the years. Somehow, when we got together, we always had something to talk about. I’m not sure how that worked, but I guess brothers are sort of like that.

One of the hallmarks of our Italian family was food. We loved food. We loved to eat. A downside to this was diabetes. It took my grandmother and has afflicted many in my family. Yesterday, it took my cousin Ron from us. His life these past few years has probably not been the best, but he still seemed pretty up beat considering, even when I saw him last summer after dad’s funeral.

As I sat and thought about the stories I can remember, I was amazed how many came to mind. Not just the packed Dart, although that one pops in my head first. And I’m amazed how kind he was to a young kid. But I was his cousin. I was family. And that meant a lot to Ron. I’ll miss you, cousin.

March 26, 2012

Party Snapshots

Filed under: General photography — Tony Drumm @ 6:37 pm

We were invited to a surprise birthday party on Saturday. I figured it was a good opportunity to have a little time behind the lens. I’ve been pouring most of my creativity lately into the RCT new season posters and haven’t done much shooting. The other day, I took a few shots of our daffodils. When I imported them into Lightroom, I saw that some other daffodil shots I took of our garden were dated late in April. Here it is a full month earlier. Although today has been more seasonal, the weather this month has been wonderful!

I packed up my camera and we headed out to the party. I did a few test shots to set my exposure, then I was ready when Ellie arrived. The backlighting of the low evening sun was pretty nice. When I’m shooting at something like this, I’m taking what I guess I consider snapshots. Trying to grab some moments and emotion. Not unlike a bigger event like a wedding reception, but with obviously less pressure. More chances to experiment. I figure I’m not shooting fine art or portraits that will grace a wall, but they have their own appeal.

You try to keep your eyes open and capture the hugs and smiles as best you can. We like to say equipment doesn’t matter – only the photographer. But, yes, it does help having the ability to open up the aperture and blur the background. Can’t always do that with a point-and-shoot.

I try to take a lot of photos. With people, expressions can change from second to second, so I’m pleased when I can catch a wonderful smile (and a bottle of wine!).

As evening progressed and the sun began to fade, I added a flash. I set my ISO a bit higher so the ambient light – what there was of it – would still fill in the frame with some light. I blasted the flash off the house wall behind me so, although the light from the flash is mainly straight on, the shadows aren’t harsh. I had a diffuser on the flash so there’s still some light coming directly from the flash, but it’s tolerable. A bit of yellow gel adds some warmth.

Down at the bonfire, I let the fire provide a lot of the light with a touch of fill from the gel’d flash. When it’s balanced right, the main light – the  brightest light – is clearly the fire. This may even be a bit hotter, flash-wise, than I’d prefer, but I’m still happy with the result. Without the gel, I’d be fighting with the colors – red and yellow from the fire and blue from the flash. I’m a big fan of gels. It’s something I can say definitively I learned from Joe McNally.

RCT was having a Jazz Jam that same evening, and Ellie wanted very much to drop in. So, some of the party moved to RCT where Ellie took a couple turns at the microphone. I think she enjoyed her birthday party in spite of claiming she hates surprises. We had a good time, too, and anytime I can do some shooting, you know I’m happy.

March 10, 2012

Working on Posters

Filed under: Rochester,Rochester Civic Theatre — Tony Drumm @ 7:04 pm

It’s that time of year again when I’m working hard on the posters for Rochester Civic Theatre’s new season. I have the good fortune to learn about the new season well ahead of the general public. The next season will be formally announced on opening night for Chicago, the spring musical this year.

The way the process works is Greg draws up some small sketches for his vision of the posters. We meet, Greg shows me the sketches, and we talk about how they might actually be executed. Usually, the final poster is very much an embodiment of his original vision. My job is to execute that vision using photographs and other design elements. Sometimes, we change the direction as we talk over the design.

Next, with lots of help, we line up folks to serve as our models, find props and costumes appropriate to the design, and have a photo shoot for me to capture the images that will form the basis for the posters. We’ve done pretty well in recent years in capturing most of the needed shots in one session.

Assembling the posters is more of a graphic design exercise than a photographic one. I reach way back to some of the art skills I learned as a kid from a local artist. I try to absorb bits and pieces of graphic design from designers I know from NAPP and from Greg who is rather skilled at it himself. I use Photoshop techniques I glean from folks like Corey Barker, folks in a whole different league. It’s a stretch always, but I always learn something new and produce posters that I can be proud of. In the end, I hope they convey the themes for the shows and help get the message out to the community about the terrific shows at RCT.

This year, we managed to schedule the photo shoot enough ahead of the deadline, that I feel I have some breathing room – I’m not scrambling to complete the artwork in time to send to the printers. Thank you, Denise, for making that happen! It helps that the musical opens in April rather than March. I think the posters are progressing nicely. As usual, I have a favorite, but I’m pretty pleased with all of them.

Planning the photo shoot is fun. I often have an opportunity to do some interesting lighting effects. We had one in particular that was fun to set up and it worked just like I pictured in my head. Can’t get much better than that. I’ll have a post after the lid is off the new season and can show the posters, and I’ll talk about that lighting effect then.

Meanwhile, I was looking through my set of photos for a few I could add to this post without giving anything away. I’m pretty sure these shots meet that criterion! Greg filled in for some models for me to check my lighting, and Ben gave me a nice profile shot. Most of the time, the posters involve some compositing, so I don’t worry about little things like lights in the frame as long as my subjects have the lighting I need. And sometimes, my subject is less animate letting me shoot it at my leisure, even sometimes in my office here where my nice neutral grey walls create a terrific background.

Making progress, and only a bit over a month to wait until I can show you the new posters! Can’t wait.

February 22, 2012

Playing with High Dynamic Range

Filed under: General photography — Tony Drumm @ 7:08 pm

When we’re out shooting, especially on sunny days, the range of light from shadows to highlights can be more than our cameras can cope with. Back in the film days, we talked about the latitude of a particular film, and each brand and composition of film reacted to light differently and displayed a different amount of latitude. I shot a lot with Kodachrome which was known for having a rather low latitude. This meant if you exposed for the highlights, the shadows would basically go black. It sometimes made it tough to get the exposure you wanted. But, Kodachrome was saturated and beautiful, so we’d put up with the inconvenience. Generally, slide films were less forgiving than print film.

In digital, we talk about dynamic range. As an electrical engineer, this has an immediate connotation in my head. I know exactly what this is. I’m not sure non-engineers are so blessed, and I’m not sure why that engineering term became the one we use. But, there it is!

Dynamic range is essentially the range of intensities of the light present in a scene or, where it counts, on the circuits of the sensor in our camera. If that range exceeds the sensor’s ability to convert the various intensities into different values – numbers – then we have the same issue we had with film. We can capture only part of the range and have to decide what’s important, the highlights or the shadows. If I’m shooting a person’s face, then I will usually want that face well exposed, the rest of the scene gets what it gets.

Software comes to the rescue. For quite a while, we’ve been able to play games like taking a shot that exposes the sky correctly and another that exposes the foreground correctly, then combining the two images by cutting along the horizon. This could even be done in a darkroom from film. On the computer, it is easier.

But we have tools now that go far beyond this, combining multiple images at a fairly fine level to create one resulting photograph. It’s commonly known as HDR, or high dynamic range. Technically, the technique is known as tone mapping, but names aren’t really important.

It’s an interesting technique, and it’s pretty popular now. Some folks love it, some hate it. Some photos use it subtly to maintain a natural look displaying just a bit more detail that normal, some flaunt it and take it to extremes.

I’ve not used the technique a lot. For a long time, I couldn’t decide where I fell on the love it/hate it scale. I used it for the first time in any serious way with a couple shots I took in Yosemite. It didn’t hurt that RC Concepcion was there, and he literally wrote The HDR Book. More recently, at Rick Sammon’s workshop, Rick suggested the alley where we were shooting had some good possibilities for HDR.

I finally decided to go ahead and buy one of the HDR programs, Photomatix. There are a handful of often cited programs – Photomatix is one of the more popular and it’s been around long enough to have become rather good and rather sophisticated. There are some interesting problems such software faces, and Photomatix handles them relatively well. An interesting point in RC’s book is that the HDR software is only one step in producing a good image. Indeed, I used Lightroom, Photomatix, Photoshop, and Color EFEX Pro 4 all pretty heavily in the shot of Danielle above.

One of the problems I have with a lot of HDR photos isn’t the surreal nature of a heavily processed image, it’s that when all the detail is evened out and given the same level of importance in a photograph, the subject can become lost. We use light to guide the eye. When everything has the same relative intensity, we lose one of our powerful tools. For the alley photo, I made sure Danielle is given some brightness above her immediate surroundings. It’s also a fortunate composition in that there are tons of leading lines that take you right to her.

I thought it would be interesting shooting the Peace Plaza fountain in the late afternoon with a bright sky behind it. Leading lines again help out. There are some of the HDR issues here with the birds against the sky. There is some strong chromatic aberration which I was able to reduce but not eliminate. I don’t generally see much of that with my 24-105 lens.

Next to the fountain is the old Chateau Theater now occupied by Barnes & Noble. You can see the fountain in the corner of the photo (which isn’t necessarily a good thing!). I’ve seen other local photographers do their HDR versions of this site. I’d rather shoot a less photographed subject, but it still makes an interesting HDR subject, and I thought I’d see what I could do with it. I tried several variations and I’m pretty happy with this one. I like the amount of detail in the door area, I like the color treatment, and I like that you get a hint of fading light.

I guess HDR is starting to grow on me. Using it with a people shot like the alley photo does excite me. It brings to mind possibilities I hadn’t considered before. We’ll have to see where this part of my photographic journey takes me.

February 19, 2012

Show Photos

Filed under: General photography,Rochester Civic Theatre — Tony Drumm @ 11:34 am

I shot two shows in the past few days. Rochester Civic Theatre was presenting The Lion, the Witch, and the Wardrobe as I’ve discussed in other posts. It was interesting to shoot and perhaps a bit more challenging than I expected. The costumes were colorful and interesting as was much of the lighting. But there seemed to be more scenes in which, from the camera’s point of view, the players and the backgrounds blended in a way that makes the actors not pop.

This is a case of the difference between our eyes and the camera’s sensor. Watching the live performance, this wasn’t an issue. Maybe it’s the sensor. Perhaps it’s motion. In shooting some basketball games recently, it’s been interesting to notice that shots with the ball on the ground in mid-dribble, the brain sees this and interprets the ball as lying still and motionless on the ground. An otherwise fantastic action shot becomes instantly devoid of energy. It’s really quite remarkable and easy to see when viewing two images taken in quick succession where the main difference is the position of the ball in the shot.

We can forget how our brain works with our eyes to create an image. Our brain interprets a 3D, live world very differently from a static photograph. As photographers, we have to think about this a lot. How to make the viewer see what we saw. An interesting aspect of this affects (especially) new photographers. When you look through the viewfinder, you will focus your attention on the subject. But in the flat, 2D photograph, things that your brain didn’t register as you snapped the shutter will be there distracting the viewer from your subject. The tree growing out of someone’s head. The smashed soda can on the ground. The other people standing behind the subject. I tell people to look around the entire view after composing the image for things like this. Still, even a seasoned photographer can fall into this trap in the excitement to get the shot.

With digital photography, we have an easier time of producing a photograph that tells the story we want. In darkroom days, we used many of the same techniques, but it was more work – and certainly more time consuming.

As tools improve, we can spend more of our time finding new ways to bring creativity to our art. We can try more ideas, and we’re not as invested in a particular choice. Undo becomes our friend.

At Riverland Community College, I shot their production of Ring Round the Moon. This was quite a contrast to the Narnia show – a single box set, period costumes, more conventional lighting.

More a story of love and trickery, there is plenty of emotion on stage to try to capture in my photos.

Having shot three shows there this season, it’s fun to see the student actors that I recognize from earlier performances. Unlike RCT, where I spend so much time and know so many of the “regulars,” at Riverland I’m still learning the faces. But it’s fun to see a familiar face like Penny in the wheelchair. When she appeared on stage, I was asking myself, is that really Penny? Yep.

This was probably one of my favorite shots of the night. We get the sense of action and motion. And all I had to do was to grab the shot! The expressions, the arms, the pieces of ripped-up money. Makes me grin.

When the show was over in Austin, I walked out to my car to find that, although the snow had seemed to end earlier, it was back. I90 was sort of a mess. But I managed to make it home without incident!

 

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