Environmental Portraiture Photo Workshops
WindRose, 2018, Photo By: Shelby Lee Adams
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Here are photos, outtakes and information made by friends, models, teaching assistants, teacher and students during our photo workshops; in the photographer's home and at Arrowhead, the historic and famous Herman Melville's home, among other sites.
This photo of Tom Crow [model] was taken by Shelby at a rehearsal session at Arrowhead before the photo workshop. Unfortunately due to illness Tom could not attend.
Lior, one of our models photographed by Shelby at The Herman Melville Home, Arrowhead.
Donny, model for workshop, photo by Shelby in studio.
Photo by student Susan James of Shelby and student Agnieszka Sosnowska in photography studio.
Lior, photo by Susan James, made in photographers home.
Photo by Patrick Banister at Arrowhead.
Photo of Adrianne Ryan assisting Agnieszka at Arrowhead.
Agnieszka's self-portrait with Donny, photo made at Arrowhead.
"This was my first time taking a workshop. I signed up to learn about various methods of artificial lighting and strobes.
It was such an incredible experience. I am still thinking about it. As photographers we came from such different places in the world. It was so great to share work and talk about the process of picture taking. Where I live I don't often get the privilege of such an exchange. It was really special.
I think if I decide to do a workshop in the future they might not measure up to what we experienced as a group with Shelby. Like I said this was my first foray in the workshop world!"
— Agnieszka Sosnowska
Iceland
Photo made by Agnieszka of Lior at Arrowhead.
Shelby and photo assistant Paul Lewis, working with Adrianne Ryan photographing Lior in photographer's home.
Adrianne photographing Lior in photographer's home.
Lior by Adrianne photographed at Arrowhead.
Adrianne photographing using I-phone at Misty Moonlight Diner.
Photo by Paul of Donny [model] at Arrowhead.
Traditionally, I have always ask the teaching assistant in my workshops to present and share their personal work.
Title: Symbol, occurrence caused by smoke and fire damage, defining shadows and forms of pottery on a wallpaper landscape. A series by
Paul Lewis using I-phone 4.
Photo by Patrick at Arrowhead.
Student Evaluation
I have nothing but great things to say about this intimate four day, small group, information and experience rich photography workshop in the Berkshires with Shelby Lee Adams.
This lighting workshop placed Shelby's work and his approach to portraiture in the context of his contemporaries and his sources of inspiration. There were informal conversations over coffee, thumbing through books from Shelby's personal library. And there were slightly more formal presentations on Mary Ellen Mark, Diane Arbus, Richard Avedon, Irving Penn (to name a few) that were projected on a screen set up in the front room of Shelby's home.
Photo shoot day took place in Melville's Arrowhead home. Shelby (with the help of a teaching assistant and two models) made sure there was plenty of opportunity for setting up scenes in different rooms. It was a busy day, but Shelby ensured ample time for personalized attention and individualized coaching to each of the workshop participants.
I highly recommend this workshop for the enthusiast or emerging artist looking to expand their off-camera portrait lighting skills through mix of theory, practice and social interaction.
—Susan James
Toronto
After teaching
photo workshops for over 25 years across the country, I feel the best learning experiences are often simulations of what an engaging relationship is really like. When I began teaching, I used to try and find for my workshops authentic, exuberant or hard-lived people,
much like I photograph back home in Kentucky. They are most everywhere, but when teaching a
class with lots of cameras, many absorbing and gazing eyes, some of the less photographed and more sensitive people get a bit spooked and understandably close themselves. For our workshop we had both a male and female model that are experienced posing for photographers. This way you would be able to concentrate more on photographing your subjects, applying new skills studied and practiced in the workshop, later to adapt new approaches and processes within your own special environments and with your own unique people.
WindRose [model], photographed at Herman Melville's Arrowhead, a commissioned photograph now selected to be published by the Berkshire Historical Society for a poster to advertise their 2017 summer activities.
[This kind of lighting diagram will be studied]
The demands of working in unknown locations, familiarizing ourselves with our model, friend or subject; creating collaboratively a satisfying and revealing image, with the environment as apart or a minimal abstract element, adding studio lighting or not, all often overwhelms; yet these decisions create, challenges and stimulate our growth. To see and learn how lighting affects and presents our subject, psychologically and technically is limitless.
Below
is a paragraph describing how my work has evolved with those I know:
“While visiting and re-photographing
my subjects from year to year, our relationships grow and mature. My visual
approach shifts as an individual might change, as we become more acquainted and
invested in each other's lives. When photographing, I encourage folks to
experience themselves within, to bring up, to give, even to give-out a
part of their inner being, to strengthen themselves by doing so because many are generous people. I ask folks to look directly and straightforwardly into
the camera, to concentrate, center themselves, and to search for their
reflection in the camera’s lens. At that moment of finding and seeing
their own reflection, I press the cable release.”
—Shelby Lee Adams
—Shelby Lee Adams
Approaching people, learning how to relate and work with others is my emphasis, collaboratively we share important experiences. We study psychologically how different lighting affects our perceptions of others and the viewers varied interpretations. How we find and develop our own visual sensitivity, create our personal style and manner of working comes from studying others work, examining ourselves, experimenting and working with many tools and ideas.
Shelby Lee
Adams
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Last N.Y.C. Photo Workshop
August 15th - 19th, 2016
International Center of Photo, NYC
ICP
Environmental Portraiture
Model - Lior Alley, photo by Shelby Lee Adams, made during photo workshop, Mid August 2016
Students photo of Shelby photographing, Photo by Kara Hudgens
Students worked with Profoto B1 500 Watt lighting systems.
Photo by Hadley Henry
Part of our crew.
From Left to Right, Argus, Nick [photo assistant], An [photo assistant], model Tracy.
Photo by Kara Hudgens
Example of Rear-curtin-Sync.
Photo by Janet Susin
Photo by Kara Hudgens
Special thanks to all our assistants Paul Barcena Mapi, An Jozef Debie and Nick Zanetti and of course the staff of the International Center of Photograph with special thanks to Chaska Jurado, Karen Furth and The Mayor's office for Central Park-park permits.
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Jan. 8th, 2016 Workshop at ICP
To view as slide show only click on any image.
To view as slide show only click on any image.
ICP Jan. 5th - Jan. 8th Photo Workshop, 2016
Some Images from Jan. 2016 ICP Workshop
Model "Darius"
Photo by Shelby
On Location with students.
Photo, Larry Ford, TA
Prep. for model, "Dayne's" Session.
Photographer, Larry Ford, TA
Discussion while viewing exhibition prints, ICP studio.
Photo: Jeenah Moon, TA
Musician in front of Bed, Jan. 2016 workshop. Mixed lighting.
Photo By Shelby
Student Photographer - Dana Nancy deLaski
Model: Larissa
Location: Penthouse, Night Hotel, Times Square, NYC, 2016
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Photographer's photo presented to discuss metering and exposure.
Three Sisters, 2011, Shelby - Photo.
[Further discussions on relationships to subjects, and their input and response to photo.]
Grand Central Terminal Building Location, where Shelby's workshop's have been held before.
Introducing and discussing different lighting techniques, Shelby uses in his work.
Saul, 2015, photo by Shelby
With the subjects input from viewing photos in-between sessions over the years, we collaboratively work with varied approaches.
Saul and wife, 2013
Halloween, Chroma, Kentucky, 2015, photo by Shelby.
"Each of us
responds differently to the same stimulus and especially to photographs that
are informed from our personal and past circumstances. A photograph is
perceived with varied eyes and many points of view, identifying
infinite possibilities and importantly something about ourselves’. Yet, we find only what is within us,
to recognize. It takes some kind of transformation, to
clearly see. Sometimes, this happens to those searching, a benevolent personal
makeover occurs, a touch to ones heart making whole, gives the gift
to see an interconnected—humankind."
Shelby Lee Adams
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Summer Workshops
Central Park, Bethesda Fountain area.
I.C.P.
New York City August 10th - 14th, 2015
Shelby Photo, made during ICP workshop
Bethesda Fountain Location
Central Park, NYC
Summer 2014
"Chloe," Photo made during Summer 14' Photo workshop by Shelby
Central Park, NYC
Examples of Photographers recent work to be studied.
Above photo process below. Title: Oma, 2014
Oma, 2014, this photo was made last October in Kentucky with Oma Collins a friend of 30 + years. So a relationship is established. I gave her and her husband photos from my summer visit earlier that year and this nightgown caught my eye. So we photographed Oma in the black dress she had on with hanging nightgown. I placed 2 - 500watt tungsten Lowel lights in the background, faced into the ceiling to warm up and define the background. Then placing two strobe lights in silver umbrellas near Oma, changing the lighting ratios to study different effects. Then placing a sharper and more direct Nikon speed light on Lernion [man sitting in chair]. Counting the ambient room light, used 6 light sources in total. Pocket Wizards sync everything together and we made photographs. F32 handheld at 1/2 to 1/4 sec. to allow the background hot lights time to burn in. The foreground flash and speed light exposed Oma at 1/400 of a sec. flash duration.
Connie, 2014
Had photographed Connie 20 years ago. She moved around from place to place, and we lost touch until last summer. When we reconnected, she asked me to photograph her again, because I had given her photos from 20 years before.
In this case I had two friends working with me as assistants. One assistant placed a single omni spot light on a pole lamp with one snoot and angled up quite high in the background. Directing light through materials into doorway and on Connie's hair and shoulders. Two strobe lights were placed left and right of Connie with one light on right being turned to block part of the light from the subjects face, both light reflector's - silver umbrella's. The left light was mask with frosted tissue, being careful to keep some reflection in subjects eyes. Aperture on camera was reduced to get the exact blending of light I wanted in camera and we made several photos, while engaging Connie in conversation.
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Jan. 20 - 23, 2015
Title: "Your Voice In Portrait Lighting"
Workshop Definition:
It is my approach in photographing people that we, observe, create, and form a space of intimacy and directness where both your subjects and the photographer are comfortable. A photo workshop I consider a simulation preparing us for the joys and difficulties we encounter and need to photograph in life. A great photograph can be made during one of these workshops, but the emphasis should be on learning as much as possible in an accelerated manner.
Lighting is often introduced indirectly, combined with the natural available light often illuminating a part of the subject and backgrounds. Lighting ratios, the psychology of light placement, how the light affects your subject, are all important to the overall composition, while reading and applying the histograms correctly and creatively.
Know that the background and environment is important to your subject, no matter how minimal. You find and create a container of space, a safe or tense balance or zone if you will - expressing yourselves together – photograph your subject’s inner expressions, states of mind, and feelings—unguarded.
Intuitively you learn to release yourself unmasking working with your subject, finding and expressing your voice together creating a collaborative vision. Make a thousand photographs and views if necessary when learning and we are always learning and seeing differently.
Mastering the craft and techniques, discovering and creating yourself, finding your style and personal vision, applying your approach to representing all of us, interconnecting with another and everyone, solidifies your personal vision: all takes a lifetime. When learning—photography should be a joyful experience, as an instructor of many years, it seems—one retains more when excited about something. To inspire that excitement with photography is my job. Later, one applies their acquired knowledge from such workshops to the complex world we each represent and live in.
Shelby Lee Adams
Photo By Moth Dust
Instructor discussing the work of Annie Leibovitz and how she achieves specific lighting effects. We study the work of Dr. Howard Egerton, Mary Ellen Mark, Larry Fink, Jeff Jacobson, Joey Lawrence, Robert Bergman among many other photographers works, studying digital slides. Instructor has had many interviews and attended lectures with many photographer's and their assistants, sharing knowledge.
Photo: Moth Dust
Instructor shares his own original prints, discussing his relationships to subjects and how the prints are made.
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Photo©Moth, 2015
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Colorado Photographic Arts Center
Denver, Colorado
May 2nd, 3rd and 4th, 2014
Valerie, 2014
The Colorado Photographic Arts Center
Denver, CO.
Photo Crew at The Colorado Photo Arts Center, May 2014
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Your Voice in Portrait Lighting
Jan. 2014
International Center of Photography
ICP
Student Photographer - Nicolas Enriquez Velez
Full-time program in PJ at ICP
[Example-Flash Speed Duration.]
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Halloween 2013
In this series, we are demonstrating what one can do with two speed lights handheld, at night, in the streets of NYC, with a full frame digital camera, hand held.
Times Square, NYC
Times Square, 2013
Weed Man, 2013
Halloween, Times Square, 2013
Above photos by Shelby Lee Adams, made with the assistance of Adam Bernstein and Adam Buteux, using hand held Nikon Speed lights. Final folio consist of 12 images.
To all the great people in Times Square who allowed us to photograph them, a sincere Thank You.
©Shelby Lee Adams 2013
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Photo Workshops 2010 - 13
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Aperture, NYC
Aperture Environmental Portraiture
Workshop
Photos below from:
ICP Sponsored Workshop Summer 2012
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International Center of Photography, On Location with Shelby's Environmental Portrait photo workshop, One Week Annual course - August 2012, NYC
Bethesda Fountain Area
Central Park
NYC
Lila and Thoth, 2013
ICP Workshop, Summer, Central Park, NYC
Marelena, Photo By: Shelby, 2010, Venice Beach, CA
Julia Dean Workshop
Kelly and Dale, Palm Springs Photo Workshop, CA, 2011
Photo by: Shelby Lee Adams
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Aperture, NYC
July 13th - 14th, 2013
Aperture, 547 West 27th Street, 4th
floor, New York, NY 10001
“Seeing, connecting, and nurturing love
while recalling and sharing the more difficult times requires a balanced
perspective. It can be tender, or tough and thorny, but all parts are necessary
to integrate visually and intellectually.” —Shelby Lee Adams, Salt and
Truth (2011)
Aperture Environmental Portraiture
Workshop
Critiquing work during Aperture Workshop, July 2013
Location Aperture Workshop: Tompkins Sq. Park
Shelby's Photo. 2013
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Student work from Aperture Workshop
Tompkins Sq. Park - 2013
Shelby's Photo. 2013
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Student work from Aperture Workshop
Tompkins Sq. Park - 2013
Linda Cicero
Anne M. Connor
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Photos below from:
ICP Sponsored Workshop Summer 2012
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Bethesda Fountain Area
Central Park
NYC
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International Center of Photography
5 day workshop.
[Background lighting, room - tungsten bulb,
foreground speed light using Orbis light modifier.]
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"Your Voice in Portrait Lighting."
Jan. 2013
Larissa Marie, 2013
Model
Photo made by Shelby in ICP studio with students participating during 4 day workshop.
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The Center for Photography at Woodstock
August 2012 Weekend Workshop
Shelby and student reviewing histograms at Portia Munson and Jared Handelsman's
unique farm in Round Top, NY, with model in swing.
Photo by photo assistant Alex Myers
Discussing lighting with students on location in Woodstock.
Photo by Alex Myers
The Center for Photography at Woodstock
Woodstock, NY
August 2012 Weekend Workshop
unique farm in Round Top, NY, with model in swing.
Photo by photo assistant Alex Myers
Photo by Alex Myers
All photographs and text copyrighted - © 1978 - 2017 Shelby Lee Adams, legal action will be taken to represent the photographer, the work taken out of context, subjects and integrity of all photographic and written works, including additional photographers published and authors quoted. Permissions - send e mail request with project descriptions.
Click on Older Post - Bottom right for:
Kentucky Photo Exhibit Summer 2008
Quotes and Vision
Stenger's Cafe
Middle East
Scotland
Stenger's Cafe
Middle East
Scotland
Grand Central Terminal Building, NYC, Student Photo.
