Digital Marketing Creative Portfolio - Xandra Somera
Rf0909 Jacobs Blanchfield
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. 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. 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