Fun shoot last week for my friend and colleague Craig Johnson, graphic designer with Agency F and Spunk Design Machine. Craig is an active member of the Twin Cities design community, particularly in the areas of sustainability and green design. Dude’s up for multiple design awards, speaking at design events, and generally blowing up all over the place. Naturally, he needed some portraits.

We had a great time doing laps down Minneapolis’s historic Main Street, Craig on his swank ride, me flat on my belly in the back of my mini van, strobe clamped to the open hatch back, Craig’s friend Hunter doing an admirable driving job not crashing in to Craig or anything else. Best of luck to Craig on his award nominations!

One of the better things to happen in the past year for my wife and me has been the relocation of our local grocery store, the Seward Coop. Not only is it only three blocks from us now; it’s also twice as big, with amazing all-Minnesota meat counter (with the best hand made sausages in the city), a great deli, amazing selections of the whole world of organic and sustainable food. Basically it’s everything we want in a place to buy our food.

Which is one of the reasons I’m so excited to be working with them on their imagery – you can see the first newsletter I shot for them in PDF form here. The other reasons to be excited: great people who are fully willing to collaborate on the vision of a story, a mission that I wholeheartedly believe in right in my backyard, and amazing layout and branding provided by Spunk Design Machine.

Our first project was a backyard barbecue to highlight the August Eat Local promotion.

For you photog-types out there, a note on the lighting. I was absolutely excited about the evening sun blaring in from behind, but using only natural light would either have blown out the background and washed out the vivid color on the table, or left everything not the sky way under-exposed. So I set my base exposure to where I wanted the background to be, then I set two speedlights back from the near corners of the table to provide fill. The sweet spot was an exposure that gave highlights from the strong backlighting, with just enough fill to give detail and max color on the table and on peoples’ faces. The two speedlights were set to identical power, providing an even field of light over the table and subjects, giving me the ability to change my angle and not have to worry about resetting the lights. Then I could concentrate on composition and directing the subjects.