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Rf0909 Jacobs Blanchfield


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Rangefinder article September 2009

Published in: Art & Photos, Business
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Rf0909 Jacobs Blanchfield

  1. 1. RADIO a clean, By Martha Blanchfield jeffrey jacobs well lit place “The longer I am with a subject, the more a three-dimensional experience of space repeats two phrases: “I am only as good it reveals itself to me,” shares Jeffrey Jacobs, and structure that allows the viewer to ap- as my last image” and “I will only be re- a Memphis-based photographer special- preciate the distance between objects and membered for my least successful image.” izing in architectural photography who planes; to sense the depth throughout the He adds, “Architecture will be studied, counts Hnedak Bobo Group Inc. (archi- entire scene. If I had to describe my style in mimicked and appreciated in the future.” tects), archimania pc, FedEx and Hilton one word it would have to be ‘painterly.’ ” Continuing, “When I take on a project Hotels as clients. “I have always been fas- I’m aware of how huge a responsibility it is cinated by the built environment and feel Park Avenue Perfection that I protect the visual reputation of the compelled to share my vision of what is A photography traditionalist whose work structure, the client and my own standing; real or what could be real. I try to create and ethics are marked by excellence, Jacobs I shoulder a personal responsibility for
  2. 2. preserving this subject for history.” “In this tight space, it was my goal to film, shares Jacobs, who notes that digital One of Jacobs’ many favorite shoots, bring the outside in, expanding the scene post-processing allows him to pick and which, like all his work, came with the stress to create an interior view of Park Avenue. blend the best exposures taken over a time of client reputation tacked on, was that We envisioned capturing the hustle and span. “The starting point uses a lighted produced back in 2007 for client RTKL, bustle of the city—the speeding taxis and base scene, the rest comes by blending a a multi-national architectural design firm activity in the street—to contrast against a few more digital files. I rely on Phase One’s based in Baltimore, MD. RTKL wanted soothing interior, thereby creating a trans- Capture One and Photoshop to manage Jacobs to photograph the offices of their parent barrier between chaos and calm.” and produce,” he reveals. “I started with client, a financial institution. Jacobs agreed Shooting late in the afternoon and into the lighted base and added three more for to the opportunity and deftly planned the the evening, Jacobs’ final photograph was a total of four. During edit I pulled in two assignment in less than 24 hours (see pg. a strategic composite of files that captured outdoor motion scenes: one to bring in an 19). “I love working in New York but there moments of the most beautiful light: im- additional taxi, one to add more executives. are a lot of logistical headaches to contend ages with natural light, images as the sun An additional file was added to display the with there. When you travel with 2000 set, images at night with the blinds closed. subtle reflection on the table, taking special pounds of lighting and gear, plus crew of To create his lighted base scene, Jacobs care not to obstruct the detail in the rug.” at least three, then consider parking and staged an elaborate chain of illumination unpacking—it’s a challenge.” magic that employed roughly 30 Lowell Vertical Wonder Spying the venue with its location just lights. The crew hung spots from the ceil- Not all of Jacobs’ assignments are so en- a few blocks from Grand Central on Park ing over each chair. A light was positioned vironmentally contained. Shooting indoors Avenue, Jacobs reasoned the best time to just below the table to bring up texture and minus weather and passersbys to deal with move gear into the space would be a Sat- detail of the rug; lighting was added on the doesn’t always happen, shares the master urday afternoon. He arrived at 3 p.m. and wood to enhance its grain and bring up who has tripped a breaker or two, climbed took about an hour and a half to reposition tones; and a mixture of soft light and spots up street poles to bag lights with Duvateen objects inside the room to his best advan- was added to make the dark granite plant and attracted crowds of onlookers. “We do tage, then initiated lighting setup; capture stand glow. make a spectacle of ourselves sometimes,” commenced at 4:30 p.m. and ran until 9:30 An image like this would be much more acknowledges Jacobs, “but we seldom have p.m in the evening. complicated and nearly impossible with any trouble. I carry so much gear that folks
  3. 3. Source Four(s) placed out the windows of the fourth floor and angled to stream down- ward. A few 250-watt spots were placed to highlight the blue awnings. Topping the main structure was a combination of two more Source Four(s), plus a 75-watt flood bulb with Lowell L-lights. To three of the seven arches atop the structure, Jacobs ac- cented rhythm with 75-watt floods in Low- ell L-lights. It was a pleasant happenstance that a row of red curtains added color to the top windows, but Jacobs did strategically keep some windows dark. “I like the nega- tive feeling that rises up,” he shares. Setup commenced at 4:30 p.m. with daylight still present. Using a Phase One P45 mounted on a Cambo Wide DS with a Schneider 47mm Digitar XL lens set ap- proximately 40 yards away, Jacobs captured images of the building and varied cloud patterns. From his vantage in the park he obtained interesting shots of the carriage, trolley and people. As darkness fell, Jacobs made sure some of the nearby lights were covered with black Duvateen. Then there was a final lighting decision—debate over whether to light the tower in a single shaft of light or two. Jacobs staged both, deciding on one ray in the end. “We were in the park for nine hours and yes, all the rigging does attract attention and conversation.” “My goal has always been to capture or create a fulfill- ing feel for the entire scene, so lighting is an important element.” think I must know what I am doing. I may nally an office building, it was undergoing What’s Light Got to Do with It? be toting around 156 lighting instruments, a conversion to apartments so only four Lighting has always been a big element power cords, all types of grip and rigging tenants resided there at the time. This al- for this master. He employs products from equipment, several stands (tiny ones to lowed lighting setup to go smoothly and Arri and Calumet and presently has 86 C-stands and Matthews Studio Equipment the team was able to illuminate primarily Lowell L-lights. “I’m heading to 100 of Beefy Babies). I’ll even rent a baker’s dozen from the interior.” those.” He laughs about light bulbs and says of HMIs when needed.” Fortunately, Jacobs During the scout session, Jacobs discov- GE should sponsor him; he uses 75-watt has a background in motion picture light- ered that all windows could be opened, through 250-watt bulbs with various beam ing and a spectacular crew so he says there making his job that much easier. From the diameters and may have as many as 150 aren’t many situations that surprise him. seventh floor (hidden behind the trees) he shining at a time. With this much power, Another divine image was taken in boomed three 575-watt ETC Source Four(s) Jacobs is very aware of safety and electrical Memphis. “This was the first time I lit a out the windows to rake light up and onto limitations. He’ll engage the services of an 22-story tower from scratch,” says Jacobs. the terra cotta structure, accentuating the electrician or gaffer if need be. “We were photographing the early 1900s intricately textured detailing. Hidden be- “My goal has always been to capture or Lincoln American Tower (above). Origi- hind trees and boomed were another three create a fulfilling feel for the entire scene, so
  4. 4. ALL PHOTOs COPYRIGHT © JeffReY JACObs lighting is an important element,” explains I am that much more expensive. I can ap- sionally money,” he says. Meaning: There Jacobs. “By fulfilling, I mean to bring out preciate budgets but I won’t budge on qual- has to be connection with the client or every minute detail throughout the whole ity and not often on price unless we come the project has to inspire him, and if all scene so the viewer can visually under- up with a simpler approach.” Sometimes else fails, then the motivator is revenue. stand the detail, not just ‘see’ it. I usually Jacobs lets the deal pass or takes it because “I know my bid will often be among the set my first lights at the farthest point from he sees value to be made up later in the highest. But that’s because I am bringing the camera and fill in from there. I’m into stream of licensing revenue. so much more time and effort to the as- showing textures and layers, spatial rela- “The lifespan of an architectural image signment. I’ve got a crew of between three tionships and depth. With some subjects can be as long as three to five years, al- and five (sometimes more) and a truck full these elements are obvious to the eye, though I do license images as old as 20 of gear to transport. I also take the time while others are not so obvious; I enhance years—this speaks to the long-term value and effort to enhance every single element the obvious and accentuate the not so obvi- I am able to instill into each image,” he within the scene.” ous to create the final experience.” remarks. “Photographs of structures are Jacobs adds that the biggest difference often timeless. I have bid on projects where in cost, when competing with more ac- Price Points I really didn’t make anything on the pro- complished photographers, usually comes Attracting business and then sticking to duction portion, but I can see solid poten- down to production value and vision. “Ar- your guns when it comes to price and usage, tial for future revenue in residuals and it chitecture is one of the most historically especially in this economy, can knock a few has paid off big time.” significant subjects a photographer can photographers off their base. Nonethe- photograph. I take that to heart with every less, Jacobs has ardently remained focused Timeless Classics commission and create an image that’s when negotiating. “Fortunately most of my Creating a timeless and spectacular worthy of the structure’s legacy.” work has come from word-of-mouth so a image is foremost and in the 28 years he’s You can view more of Jacobs’ work at potential client usually has an idea of what been shooting, Jacobs has earned high to expect. But then again, there have been regards among peers and is among the times when I am bidding against another best paid in his field—but price comes Martha Blanchfield is creator of the Renegade Photo photographer and there’s a gap in price and with a price. Shoots ( and a freelance product quantity. They’ll call and ask why “I work for people, projects and occa- marketing and public relations consultant.