Light Painting an Orchid
Light Painting an Orchid.
For his lesson today, Nolan who I mentor in the independent studies program at Westlake High School, we light painted this orchid. We lit the plant with a small led flashlight and looked at each image on my ipad by using the Cam Ranger system plugged into the Canon 5d Mark 3 camera. We ended up with 10 different images of varying lighting on the orchid that we layered and masked together to create this final image. We back lit the flowers and front lit the flower buds. The back lighting helped pop out the dramatic edges of the flower petals.
These are some of the light painted images that we blended together to make the final Orchid image.
New Rust Rapture Abstract Fine Art Photos
New Rust Rapture Abstract Fine Art Photos
I attended this years Lone Star Kustom Car Roundup as I have for the last seven years and was not disappointing with the rat rod turn out. These Rat Rods are the source of my Rust Rapture images. I just submitted a portfolio of my Rust Rapture Collection to Left Bank Art and included an artist statement that I had written years ago that is sort of fun to read. It is included below after these images from my2017 harvest of abstract images.
Artist Statement
Johnny Stevens
I was raised in a tiny town in the foothills of the Appalachian Mountains. Our house had a white picket fence in the backyard within which 5 of us kids ran naked throughout our childhood; seriously, naked. The boundaries of my soon-to-be border-less and open mind set were clearly being established without my knowledge. Weekly, the DDT fog truck would drive by the house to kill mosquitoes and we would frolic on foot or bike behind it…. unwitting of the disastrous effects of this dangerous chemical. The resulting effects of DDT on my brain synapses are likely one reason today, I am so attracted to the abstract. Salvador Dali has always been one of my favorite artists, and I sometimes wonder if I observe life more like his surreal representations than what other people see, especially through the lens of a camera. Constantly surveying my surroundings, I find myself hunting for a chance to reveal the obscure – to reveal unique perspectives of ordinary images that are normally overlooked.
Despite the white fence upbringing, I have always harbored the rebel spirit, loving to break the rules, like parking where one should not. In abstract art, there is a sense of freedom in breaking the rules, partly because the art itself has done lots of the rule breaking part. One may say that I really have not broken anything, only revealed it.
Having broken lots of rules in prep school, my parents shipped me off to Fleming College in Florence, Italy. There I was encouraged to break away – in spirit, and on the weekends, on foot. This art institute was housed in a glorious 300 year old Tuscan Villa fit for royalty with breathtaking views of the rolling Tuscan vineyards. Most of the art training I had there was in the dungeon of the villa, a perfectly damp and remote place to host a photographic dark room. The ambient red light, the rancid smell of the print developer and stop bath, and the wrinkled skin on my fingers are all much more vivid for me today than the black and white prints I created years ago. In the adjacent chamber, which must have been the disciplinary whipping room at one time – as the sounds of screams could never have penetrated its thick stone walls – was where our charcoal drawing exercises were held. It became clear on the first day of sketching exercises, when a sleek Italian lady entered the room and promptly dropped her robe, that this cold, damp and very quiet room several floors below ground was also probably the safest place to host naked models.
Up on the Mezzanine of the Villa were perched our oil paints, canvas and easels. I had a spectacular view of the pool and the stately pool cabana which had been transformed into the theater and drama department. Abstract painting was my go-to genre, though I toughed out a few landscapes. Though I have always admired Salvador Dali’s surrealistic paintings, my thesis painting was a dead ringer of “clin d’oeil à Picasso” by Bochaton Emmanuelle. Interestingly, today in my abstract photography I still look for patterns that are disrupted, yet try to honor balance in the composition. It is precisely this theme that became an obsession for me when I discovered the inherent beauty of the rhythms, textures and colors right on the chassis of rat rods.
Eight years ago when I first attended the Lone star Rod and Kustom Car Round-up in Austin, I was blown away by the spectacular beauty of the cars’ organic finishes – particularly the “rat rods” – hot rods whose exterior finish have been subjected to harsh elements –rain, sun, heat and occasionally an owner’s belt sander. The blend of old paint and rust creates a stunning patina. Each photo is an energetic amalgamation of textures and colors creating bold movement and intense mystery. These vintage cars span 40 years and range from a 1924 Ford Model T to a 1966 Chevy. Six years in the making, these “Rust Rapture” images are my favorites in my fine art portfolio.
ARTIST BIO
Johnny Stevens is a commercial and fine art photographer in Austin, Texas. His most popular art photography collection is called Rust Rapture. These photographic images have gained international recognition and are currently displayed worldwide in select boardrooms, offices, hotels, and elite residences. The Rust Rapture images capture the very close up sections of the distressed exterior finishes of vintage “hot rod” or “rat rod” cars. Photographed by an Austin photographer, these pieces have a story clients will love to tell.
The collection is inspired by revealing the mystery that is created from the bold mix of textures, colors and movement. The images display a variety of gorgeous colors and are commanding as large canvas prints in a modern or traditional setting.
“Eight years ago when I first attended the Lone star Rod and Kustom Car Round-up in Austin, I was blown away by the spectacular beauty of the cars’ organic finishes – particularly the “rat rods” – hot rods whose exterior finish have been subjected to harsh elements –rain, sun, heat and occasionally an owner’s belt sander. The blend of old paint and rust creates a stunning patina. Each photo is an energetic amalgamation of textures and colors creating bold movement and intense mystery. These vintage cars span 40 years and range from a 1924 Ford Model T to a 1966 Chevy. Six years in the making, these “Rust Rapture” images are my favorites in my fine art portfolio.” – Johnny Stevens
Commercial Product photo shoot for Jon Archer
I just did a commercial product photo shoot for Jon Archer Designs. Jon handcrafts wood furniture and products. Subsequently, Jon is one of a dying breed of real live craftsmen. We shot in his manufacturing studio at his home. I used natural light and added 2 Canon 600 ex rt speedlights as kicker lights triggered by the Canon ST E3 RT wireless trigger.
Architectural Accent photography can be more alluring than the whole room.
Sometimes I get so wrapped up about shooting my conventional architectural angles and scenes that I forget to look around me for accent photos. Architectural Accent photography often tells a more intriguing story than the entire room in which it is featured. In this first example, this vintage bank vault door in Houston makes a loud statement about the gobs of money and cash happy history of the old oil days of south Texas.
This accent photo is one I saw while shooting at University Crossings in Charlotte. It is in the entry way to the leasing office of the property.
Windswept installed at Heckmann residence
Windswept installed at Heckmann residence.
Our neighbors fell in love with Windswept – 1954 Ford Custom from the Rust Rapture collection. It is a 33 x 50 inch canvas wrapped giclee print.
Here it is installed in their kitchen.
Great Wedding photographers contract for all photographers
This is a great wedding photographers contract thanks to Dustin Finkelstein here in Austin Texas. He is a fantastic wedding photographer. He shared this which is pretty bulletproof. I am shooting a wedding in a few weeks, which I do not normally do and Dustin is helping me re-hone those wedding photo skills. Here you go.
————————————
Client Information
Wedding Date___________________________________Client________________________________________
Client Mailing address____________________________City/State/Zip________________________________
Client’s email address____________________________
Client’s Name___________________________________Phone_______________________________________
Client’s Name__________________________________Phone________________________________________
Wedding Couple’s Email Address_______________________________
Couple’s Future Address____________________________________City/State/Zip_______________________
How did you hear about Images by Johnny Stevens photography services ?_______________________________
Includes (please write in the items you are getting from the packages )
Payment type
__ Check __Credit Card
Credit Card Type______________ Number__________________________ Exp ___________Sec.Code_____
Discounts
Other Discount………………………..…………………………………………………………………$_________
Total Package Fee or Session Fee plus Additional Charges $ _________
Tax of 8.25% $ _________
Total $ _________
Wedding Photography
Terms & Conditions
1. You are hiring Images by Johnny Stevens to photograph your event, edit the photographs, and provide you with copies.
1.1. Client retains Images by Johnny Stevens to photograph event. This agreement (or “contract”) contains the entire understanding between Images by Johnny Stevens and Client. It supersedes all prior and simultaneous agreements between the parties and may only be change with a written addendum, signed by both parties. The laws of the state of Texas shall govern this contract and clients agree that any legal action between the parties shall take place within Travis County,Texas. Client assumes responsibility for all collection costs and legal fees incurred by Images by Johnny Stevens if such become necessary. In the event that any part of this contract is found to be invalid or unenforceable, the remainder of this contract remains valid and enforceable. Failure by one or both parties to enforce a provision in this contract does not constitute a waiver of any other portion of this contract.
2. The parties agree that the best possible result is created through cooperation and communication.
2.1. Images by Johnny Stevens is not responsible if key individuals fail to appear or cooperate during photography sessions or for missed images due to details not revealed to Images by Johnny Stevens.
2.2. Client understands that, while the Images by Johnny Stevens makes all best efforts, no particular photograph of any single moment or individual is guaranteed and that not all guests of the event will be photographed.
2.3. The parties understand and agree that Images by Johnny Stevens will accept photography direction from the Client (or Client’s Designee) only. Photographer is unable to take direction from anyone other than the Client/Designee to ensure smooth, conflict free, performance of the duties under this agreement.
2.4. Photographer will not be responsible for any photographs ruined by guests’ (or any other) flashes or any other ruined photographs to do any other causes in or outside of Photographer’s control.
3. Parties agree to at least one pre-event consultation.
3.1. The parties agree to a pre-event consultation before the event to finalize any details (shooting time, location changes, etc.) This consultation may be done in person, if possible, by telephone, or by other means agreed upon by the parties. Although Images by Johnny Stevens will try to accommodate any special requests, Client understands that photographer offers no guarantee that any specific photograph will be taken. Client understands that Client is responsible for designating an individual to identify, for Photographer, those people of which Client wants specific photographs.
4. Client understands that Photographer must follow event location & officiant rules
4.1. Images by Johnny Stevens is limited by the rules of the event locations associated with the event and their management. Client agrees to accept the technical results of their imposition on Photographer. Photographer is not responsible for any fees associated with event location site permits, admittance fees, or any other fees associated with the event locations required for Photographer to perform pursuant to this contract.
4.2. Photographer may be limited by the officiant. Client agrees to inform Photographer of all limitations imposed by the officiant. In the event that Client is unaware of officiant’s restrictions, Client understands that Photographer will abide by any limits the officiant has regarding time and place for photography.
5. Parties agree upon a set amount of time that Photographer will photograph Event.
5.1. The Photography Time is the minimum time Photographer will spend photographing. This Photography Time is continuous and commences at the Event Start Time stated in this agreement regardless of actual start time of the event. If the event ends early for any reason or if Photographer is asked by the Client/Designee to stop before the Photography Time is completed, a refund will not be due to the Client. Photographer will provide additional photography time at the request of the Client at the Extra Photography Time Rate in no less than half hour increments.
6. Parties are agreeing that the deposit/reservation fee is earned upon being paid in accordance with the following liquidated damages clause.
6.1. The parties agree that quantifying the losses arising from Client’s cancellation is inherently difficult insofar as cancellation may impair Images by Johnny Stevens’s ability to obtain a replacement client, may impact the photographer’s reputation, and may result in Photographer suffering monetary losses as a result of travel expenses, materials purchases, etc. The parties further stipulate that the agreed upon sum (referred to interchangeably as a “deposit,” “booking fee,” and/or “reservation fee”) is not a penalty, but rather a reasonable measure of damages based on the parties’ experience in the photography industry and given the nature of losses that may result from Client’s cancellation.
6.2. The deposit is non-refundable, even in the event the date is changed or cancelled for any reason, including acts of God, fire, strike and extreme weather.
6.3. The deposit is due and payable as follows:
6.3.1. The reservation fee of 50% of the total cost is due upon execution of this contract. This contract is not considered valid until this initial deposit is paid. Photographer WILL NOT reserve any dates, confirm contract, or make any other preparations for client’s event UNTIL this fee is paid.
6.3.2. An additional 50% of the total cost is due 14 days before the event. If the additional amount is not paid within seven days of the date due, Photographer may deem the contract void, Client understands that all funds paid will be considered earned, and the parties have no further obligations to one another.
6.3.3. If this contract is signed within 14 days of the event, Client agrees that 50% must be paid upon execution of this contract and that this contract is not valid until this initial 50% is paid. Photographer WILL NOT reserve any dates or make any other preparations for Client’s event UNTIL this deposit is paid.
7. What happens if this contract is cancelled.
7.1. At the Client’s discretion.
7.1.1. Client understands that pursuant to this contract, Photographer may forgo opportunities to book other business on the date of the event. Client understands that in exchange for this consideration, Client agrees to the following:
7.1.1.1. In the event that Client reschedules the event and Photographer is available for the rescheduled date, Photographer may amend the Event Date in this contract and Client will receive credit for all funds paid. In the event that the Client reschedules the Event and Photographer is NOT able to rebook the original Event, Photographer will NOT amend the Event Date in this contract and Client will forfeit the Deposit but receive a refund for all other funds paid. The Photographer reserves the right to charge additional fees to cover added expenses incurred due to the date change.
7.1.1.2. In the event that the Client cancels the Event outright, Client will forfeit the Deposit but receive a refund for all other funds paid. Cancellation must be in writing; a phone call alone is insufficient.
7.2. At Photographer’s discretion.
7.2.1. In the unlikely event that Photographer is unable to provide the services described in this contract for any reason including, but not limited to, illness, injury, emergency, or act of God, sudden event or other circumstances beyond the control of Photographer, a substitute photographer may be sent without additional cost. This contract will be transferable to said photographer. If the Client declines the substitute photographer, the Client may instead terminate this Agreement, and receive a full refund of all money paid.
7.3. Return of monies paid.
7.3.1. In the event that any refunds are due under the terms of this Agreement, Photographer will issue refunds to the person/entity who paid.
8. Photographer’s travel expenses defined.
8.1. The Travel Expense Fee represents the entirety of the reimbursement to cover travel time, travel expenses, and related expenses incurred by Photographer associated with travel to the event location necessary to fulfill the obligations under this agreement.
9. Final Payment
9.1. The final payment is due 14 days prior to the event.
9.2. Photographer will only begin editing photographs after all payments have cleared.
9.3. No photographs, albums, prints or other materials will be released to Client until all payments have cleared.
10. How to pay and what fees may be added.
10.1. Payment may be made by
10.1.1. Check (written to Images by Johnny Stevens);
10.1.2. PayPal; or
10.1.3. Credit Card
10.2. There is a $35.00 charge for payments returned by the bank for any reason.
10.3. If the Photographer agrees to accept a payment after the due date, an additional fee of 5% may be charged.
11. Parties agree that the Photographer will receive meals and breaks.
11.1. Photographer works diligently to photograph the event and may need to make reasonable use of the restroom or break for water and a meal. If Photographer will be photographing for five hours or more, Client agrees to provide a meal for Photographer.
12. Images by Johnny Stevens is only person to be paid to photograph and guest photographs may have consequences.
12.1. Unless otherwise agreed, Parties understand that Photographer will be the sole person hired to photograph event. Photographer reserves the right to bring one assistant at Photographer’s discretion.
12.2. Paparazzi guests may ruin photos. Photographer requests that Client’s guests take photos during the event only if they do not interfere with the Photographer. If a problem arises, the On-Site Event Contact will be advised to handle the situation for the Photographer.
13. Digital Images, Prints and Copyrights
13.1. The photographs, digital negatives or prints produced by Images by Johnny Stevens are protected by United States Copyright Laws (USC Title 17) and all rights are reserved other than as prescribed elsewhere in this agreement. High resolution digital photographs are intended for personal use and printing of Client. Client must obtain permission from Images by Johnny Stevens prior to the releasing, publishing, or selling the photographs for commercial or press/media purposes. Digital editing and processing may take up to four weeks after the Wedding Date for completion and posting to the online proofing gallery.
13.2. How many, when, and what to expect of final photographs.
13.3. Images by Johnny Stevens will edit and deliver a minimum of 100 edited photographs per hour of Photography Time. Photographer will not provide any unedited or “RAW” files. Photographer may choose not to deliver all photographs taken during the Photography Time. Photographer will make every reasonable effort to correct exposure, color, tone, contrast, sharpness, and cropping of all delivered photographs to the liking of Client. Photographer will not selectively edit portions, remove or add people or objects, or otherwise “Photoshop” individual photographs.
14. Album
14.1. If an album credit is included in the package, the album credit includes professional layout and design by Photographer actual physical album, and final delivery of album. Client is entitled to one album consultation and has the opportunity to select the photos for the album, view a draft, request two major layout/design changes, and has final approval of album. Album credit applies to rates in album catalog provided to Client.
15. Ordering seconds.
15.1. The Photographer maintains Client photos for 365 days after the Event Date.
15.1.1. Until that time, Client may order digital photos, physical prints and/or albums.
15.1.2. After that time, Client understands that the Photographer has no obligation to provide any copies of any photos from the Event.
16. Model Release
16.1. The Client hereby grants to the Photographer and Photographer’s legal representatives and assigns, the irrevocable and unrestricted right to use and publish photographs of the event and Clients, provided the photographs are not obscene or inflammatory, for editorial, trade, advertising, stock, commercial, competitive and any other purpose and in any manner and medium; to alter the same without restriction and without further notice to Clients, and to copyright the same. The Client hereby releases the Photographer and Photographer’s legal representatives and assigns from all claims and liability relating to said photographs.
17. Limit of Liability
17.1. Images by Johnny Stevens takes the utmost care with respect to exposure, transportation, and processing photographs including using professional grade equipment and professional grade backup equipment. However, in the unlikely event those photographs have been lost, stolen, damaged, or destroyed, Photographer’s liability is limited to the return of all payments received. The limit of liability for a partial loss of originals shall be a prorated amount of the photographs lost based on the percentage of total number of photographs agreed upon in this contract. The limit of liability shall not exceed the contract price stated herein.
The parties have read all pages of this agreement agree to all of its terms and acknowledge receipt of a complete copy of the agreement signed by both parties. Each and every person signing as Client below shall be fully responsible for ensuring that full payment is made pursuant to the terms of this agreement.
Client Name Printed______________________________
Client Signature__________________________________ Date:____________________
Photographer Name Printed_______________________
Photographer Signature___________________________ Date_____________________
wedding photographers contract
Pre-post of an upcoming blog post by Robin Bond Interior Design
I thought it would be smart to post this content that I provided for a blog post by Robin Bond Design this fall. It is about how I work as a photographic fine artist with my clients who commission my art.
——————
BIO: Johnny Stevens was raised in Lenoir, NC, where he attended high school at Asheville School for Boys, studied photography and studio art at Fleming College, Florence Italy, psychology at Wake Forest University, and at Appalachian State studied Radio-TV-Film. In 1980 he attended The University of Texas Graduate Film School, where he was awarded a Student Academy Award in 1982 for a short film. He founded HORIZON Film & Video, Inc. in Austin, and spent 28 years behind motion picture and video cameras producing and directing hundreds of films and videos of all genres, all the while honing his eye for balance and composition that would fuel his passion for photography. He is currently enjoying photography as his sole profession in Austin specializing in architectural, interior design, and portrait photography – which feeds his bank account, but it is the abstract fine art photography that feeds his soul.
In terms of photographic composition, I always start by following the rules…. but only in anticipation of breaking those rules. In my abstract fine art work my task is to discover opportunities to build mystery – to create an image that make the viewer curious. My quest is to reveal unique perspectives the ordinary that others would not otherwise see.
Although I have an extensive abstract fine art portfolio, by far my favorite collection is my Rust Rapture Series. These are all images that I photographed over the last 8 years at the Lone Star Kustom Car Roundup which attracts owners of rat rods from around the nation. Rat Rods are vintage hot rods whose exteriors have been left to the demise of mother nature – rain, wind, blazing sun, and occasionally the owner’s belt sander. The amalgam of colors and textures that I find on the exteriors of these cars is unbelievable.
Deep Sea Dive is actually about a 3 square inch section of the hood of a 1940 Willy’s Coup. I love the movement in this print. I love it so much that I hired the owner to bring his car to Austin to show it off outside of the O2 Gallery in Austin where I held my last exhibit. The crowd loved it!
Radioactive is extracted from the door of a 1941 Chevy sedan. The bold texture is what makes this one of my favorites – very masculine.
For those who need a hint of reality, Hidden Faces offers a visual anchor within the bold textures – the door handle of a 1952 Chevy.
And one of my best selling prints is Hidden Agenda which I discovered on the fender of a 1948 International KBL. This print has spectacular color and graces the walls of both a spectacular home on the 8th hole of the TPC Sawgrass golf course as well as the office of a VP of Marketing in Austin. This print has rhythm!
One thing I love about these Rust Rapture prints is that since they are abstract, they can often be hung as landscape or portrait prints – whichever the beholder prefers.
I enjoy being involved in the creative process of choosing from the dozens of images I have in this collection. I can crop and resize each image to fit the installation. Also creating a diptic or a triptic is easily done as I did for “Crystallized” which hangs in the lobby of a saw firm downtown Austin. Canvas is one of my favorite substrates for printing but fine art luster paper beautifully framed is always a safe way to go. Often, to make it easier for my clients, I ask them to send me photo of the wall on which they are considering installing a print – even a phone pic – and I can easily photoshop the print, scaled to size, onto the wall and send it back to them so they can see how the design and the colors of the print work with that room. It helps taking the guess work out.
Christmas Family Portrait
I had these friends call me just before Christmas day asking if I could find a place to shoot a family portrait they needed to deliver as a gift on Christmas Day. My fireplace worked just fine. Three speedlights did the job. I gelled the speedlights with 1/2 CTO which is a light orange filter. There is a beauty dish on the left, back light above Erika, and a kicker just to the right of Evan. Cue the guitar for filling an empty space. I tried shooting with the fireplace on but they started melting so I added the fire in Photoshop.