totaro - Phase One

PHASE ONE I INTERVIEW I JEFFREY TOTARO I ARCHITECTURAL PHOTOGRAPHY
© Anti Wendel
© Jeffrey Totaro
Image 1 - Camera: Alpa, Digital back: Phase One IQ260
ARCHITECTURALPHOTOGRAPHY
# PHOTOGRAPHER
JEFFREY
TOTARO
Jeffrey Totaro started his career as an architect and structural
engineer, giving him a strong technical background before his
transition to professional photography in 1996. Jeffrey is well
known for his ability to capture structural complexity, architectural detail and ultimately present the architects vision.
Jeffrey recently upgraded his Phase One P45+ digital back to
an IQ260, we asked Jeffrey if it lived up to his expectations and
learned what it has brought to his work, both creatively and
professionally.
WHAT THE WORLD’S BEST PHOTOGRAPHY IS MADE OF
FACTS:
PHOTOGRAPHER: JEFFREY TOTARO
CAMERA: PHASE ONE 645DF+
DIGITAL BACK: IQ260
JEFFREY’S PARTNER OF CHOICE: DIGITAL TRANSITION
What project are these images captured for?
All of the images were created for the same client in Philadelphia.
This is a large design office with architects and interior designers, and
I was fortunate to shoot for both departments on these projects. Being
an architectural photographer, my goal is to clearly communicate the
design intent and add some drama and interest to make the photographs
compelling for the viewer. Almost all of the photographs I take are for the
dual purpose of promoting the client’s work and also to create an entry for
a design award competition. My clients frequently enter and win design
awards, and I am happy to be a part of that process.
What was the technical setup?
I shoot with 2 Alpa bodies (MAX an SWA) and 5 lenses. All of these were
shot with the Alpa MAX body and the 36mm Switar or the Schneider
47mm XL Digitar. For the dusk exteriors I usually set-up about an hour
before sunset and we make sure ahead of time that we have access to all
offices and windows and that we know how to control the window blinds
CAMERA SYSTEM 645DF I WORLD CLASS QUALITY
PHASE ONE I INTERVIEW I JEFFREY TOTARO I ARCHITECTURAL PHOTOGRAPHY
and the lights. Typically we open all of the shades as in image 1, but in
the case of the Image 2 the building is designed for the shades to lower at
sunset and for the shades to then be lit from the outside so that it creates
a uniform appearance for the building at night. It’s a nice beacon of light
along a beautiful pedestrian path at the University of Pennsylvania.
The hardest part of shooting image 2 was keeping the lights on in both
buildings. These are large office buildings in Wilmington, DE and they are
following the common practice of having occupancy sensors to reduce the
“
JUST THE OTHER DAY A
NEW CLIENT WROTE TO ME
AND SAID THE IMAGES I HAD
JUST DELIVERED WERE THE
BEST QUALITY FILES HE HAD
EVER SEEN. I THINK THAT
SPEAKS FOR ITSELF!
“
amount of electricity used. What that means for us is that we need a larger
crew of people running through the building keeping the lights on. In this
case we had 3 people moving through all floors and offices keeping the
lights on for the 20 minutes of actual shooting time.
The interior photographs always take some time and this client takes the
process very seriously, which is nice for me. In all cases here we map out
a strategy of which shots to do in order to tell the story of the project. Once
we make those decisions we’ll then spend time arranging furniture to fit
the composition and then start to light the shot. I use Profoto D1 1000 w/s
heads (I carry 6 of them) and my goal is to accent the lighting that is in the
space, not over-power it. Often we are working with fluorescent lighting
in the space so we get the heads to match that color. I use a combination
of soft boxes, reflectors, and large silk fabrics to shoot the lighting in order
to create a broad source for fewer shadows. Often I will shoot with the
strobes and then without the strobes and combine those exposures in postproduction to get the best of both.
For the interior photos, I always shoot tethered to the laptop so my client
see what we are doing, and so that I can check focus and look for other
issues that may come up. For the exterior photos, I will decide on a shot
by shot basis whether it is best to work tethered or to shoot to the card.
With the IQ260 it is easy for me to evaluate the image on the LCD screen
on the back or if connected to the iPad it is even better. For the shoot at the
University of Pennsylvania, we wanted two dusk views on the same night,
so I set up both Alpas and transferred the IQ260 between them. I’d shoot a
range of shots for the first view, then remove the back and put it on the other
camera and shoot from there, and just continue doing that until I have what
I need from each shot.
What expectations did you have to the IQ260 and did it fulfill these
expectations?
I am not new to shooting medium format, so I am quite used to the quality.
I had the P45+ and prior to that the P25 digital back. The evolution of the
IQ series has totally lived up to my expectations. I make use of all the new
features of the back. The image quality is quite stunning from color and
contrast to shadow detail and dynamic range. Its a pleasure to use and really
gets out of the way and lets me work.
© Jeffrey Totaro
Image 2 - Camera: Alpa, digital back: Phase One IQ260
WHAT THE WORLD’S BEST PHOTOGRAPHY IS MADE OF
CAMERA SYSTEM 645DF I WORLD CLASS QUALITY
PHASE ONE I INTERVIEW I JEFFREY TOTARO I ARCHITECTURAL PHOTOGRAPHY
© Jeffrey Totaro
Image 3 - Camera: Alpa, digital back: Phase One IQ260
What benefits has the IQ260 given your photography, creatively and
business wise?
Just the other day a new client wrote to me and said the images I had just
delivered were the best quality files he had ever seen. I think that speaks
for itself! When the clients notice the difference, that makes me very
happy, but even if they don’t I still pride myself in delivering the best
quality images. I have always said that there is no problem we can’t solve
with this digital system, but now there are even more features to back up
that statement. Increased dynamic range means I can shoot more often
with people and rely on one file to get me to the finished product. Better
high-ISO performance means I can get better shots with people moving
through the shots. Working with the DF+ body gives me more flexibility to
do hand-hold shots. The Wi-Fi, is great! For a recent shoot in Wilmington
I remember handing the iPad off to my client to show him the shot. And
when adjusting outdoor furniture, I could bring the iPad and see what it was
I wanted at all times. Now that’s cool and productive! And the Wi-Fi works
even when tethered, so when I shoot to the laptop, I can have the iPad
working too for my assistants or clients to take a look.
FIND OUT MORE...
JEFFREY TOTARO:
www.jeffreytotaro.com
LEARN MORE ABOUT PHASE ONE CAMERA SYSTEMS: www.phaseone.com/Camera-Systems
If you should emphasize one feature of the new IQ2 digital back, what
would it be and why?
There are many new features to choose from, but I very much enjoy using
the live-view on the IQ260. I often compose one-point perspective photos.
These are when the camera is square to the subject, like the dusk view in
image 1 or the interior with the red chairs and red wall in Image 3.
Using the live view and choosing the grid on the LCD I can much quicker
get the camera positioned and make sure I am centered or squared-up, and
I can play around and try some different idea. What I wasn’t expecting was
the ability to use live-view even when the camera is tethered to the laptop.
This is very nice feature since I can get the best of both worlds, tethered for
close inspection, and live-view on the LCD for composition adjustments.
Who is your Phase One partner of choice, and what benefits have you
experienced from this contact?
I worked with Digital Transitions in New York for my P45+ and my IQ260.
I have developed a great relationship with them. I find my sales person
(Lance Schad) to be very responsive whenever I need something or if I
have a support issue. A good dealer makes all the difference. Its nice to
know someone is there who knows all the ins and outs of the software and
the hardware too. With the new updates to Capture One, I can trust their
opinion on when it’s ready for upgrade, considering my workflow (OS,
computers, etc). So many moving parts to the system, but they keep it clear
and easy. I highly recommend them and Lance in particular.
TEST DRIVE A PHASE ONE CAMERA SYSTEM:
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CAMERA SYSTEM 645DF I WORLD CLASS QUALITY
WHAT THE WORLD’S BEST PHOTOGRAPHY IS MADE OF