Eric Reichbaum

About

Eric Reichbaum is a self taught photographer currently in Seoul, South Korea. When he is not traveling the world he can be found in New York City. His clients include: Vinterra, Voli Spirits, No Longer Empty, Groove Magazine, The Waster, and Ultimate Athlete Magazine among others.

To inquire about commissions, prints, or assignments, email: Eric.Reichbaum@gmail.com

Tag: ‘photography’



Jisan Valley Rock Festival

Thursday, August 26th, 2010

Galaxy Express

I applied for and received a press pass for the Jisan Valley Rock Festival last month just outside of Seoul. It was the first time I received a press pass with the caveat:  ”I’m afraid we cannot afford to give a photo ‘pit’ pass for you.
We will hire official photographer crews and offer lots of pictures of artists’ performance (online)… But you can take pictures of audience, festival site with your press pass.”

I’m a music photographer, not an audience photographer. Disappointed, although thankful for the free entry, I went to the festival with low expectations as far as photography went. I managed to get a few good photos, when I could get close enough to the stage, but for bands like Muse and Pet Shop Boys, I was so far back that the band members looked like ants even at 200mm. Anyway, it was a great weekend filled with great music. Click through to see a few of the cool shots I managed to get: (more…)

Pentaport Rock Festival

Tuesday, August 17th, 2010

I had the opportunity to shoot the Pentaport Rock Festival here just outside of Seoul a couple weeks ago, thanks to my buddy Aaron Raisey over at the Seoul Photo Club.  Here are a few photos from the weekend. Click through to see who the artists are. Enjoy!


Belly Dancer

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Shame on Lonely Planet

Monday, June 14th, 2010

I received an email from a friend the other day telling me I should submit some photos to a free contest that Lonely Planet is having. Grand Prize? 2 Round the World air tickets! What an amazing deal. Listen to this gushing copy that LP has for it’s readers: “We just sent our 100 millionth guidebook out into the world, and we want to thank you – it wouldn’t be out there if you hadn’t shared our belief in the importance of travel. To celebrate, we’ve created a place for you to share your favourite travel moments. There are some amazing prizes for contributors, so show us your view of the world!”

Wow! Thanks Lonely Planet! I think I’ll submit this photo I took in India that has been a favorite of mine for a while:

indiagirl

Let’s take a look at the fine print to make sure I’m not signing away my copyrights real quick before I hit the submit button. What does it say here?

Once submitted, your entry will not be returned to you.

General licence: Unless you opt-out of this licence by un-ticking the box on the entry page, in return for entering the competition you grant Lonely Planet a worldwide, non-exclusive, irrevocable licence in perpetuity to reproduce, publish, adapt, communicate and broadcast all or part of your entry in any media for the purposes of this competition and inclusion in Lonely Planet branded products and marketing materials, including the right to sublicense.

Limited licence: If you do opt-out of the general licence by un-ticking the box on the entry page, in return for entering the competition you instead grant Lonely Planet a worldwide, non-exclusive, irrevocable licence for two years to reproduce, publish, adapt, communicate and broadcast all or part of your entry in any media for the purpose of this competition.

Please note: If you opt-out and you are later chosen as a finalist, upon your acceptance of the finalist prize and in return for that prize, you grant Lonely Planet the General Licence set out above.

We will use reasonable efforts to attribute you as the creator of your entry where possible, but you consent to us not attributing you if we decide not to. Despite any moral rights that may otherwise apply, you consent to us or our sub-licensees (in exercising any of the rights granted by you above) using, reproducing, editing, publishing or communicating your entry in any form or medium.”

What does all of that mean? It means that Lonely Planet will gain access to thousands of photos from entries in their “competition” that they can then use for ANYTHING they want. Print them in their books, on their website, advertisements… FOREVER! They don’t even have to give you credit! And you, the photographer gets nothing but a chance at a round the world ticket. This is Lonely Planet’s way of building up a bank of photos that they can use forever.  This is their way of never having to pay a photographer again.

Shame on you Lonely Planet. Your already overpriced so called “travel guides” just secured a spot in my boycott line. I strongly suggest all photographers out there not to enter this contest, and all travelers to look elsewhere for travel guides.

Using Long Exposure at Concerts

Monday, March 8th, 2010

My last post was about only getting to shoot for 3 songs. This post is about what you can do when you have more than enough time to shoot from the pit. At the Umphrey’s McGee show a couple weeks ago I asked the security guard at the pit what tonight’s deal was. He said “This is a jamband, who knows how long 3 songs will last, you can shoot the whole first set.” Not a bad deal, made even sweeter when I found out there would only be one other photographer in the pit with me. Lots of space to move around, and plenty of time to shoot. I can’t say this happens often.

So what do you do with all that extra time and space? Get creative! I’ve been wanting to experiment with some longer exposure shots at concerts for a while, but usually can’t waste precious time on shots that might turn out terrible, or at least useless for publication. Why long exposure? Well other than the obvious (the music) one thing that is often lost in the quest for the ultimate sharp image is: movement! Sometimes we photographers are so worried about sharpness that we forget that a little motion blur can add to a photo. When a guitar player is violently attacking a solo, he’s usually not standing still posing for you, he’s moving, and that’s part of the show. So why not include that in some photos now and again? (more…)

Put down the Camera!

Wednesday, February 3rd, 2010

Jeff Austin and Al Schnier

Shooting live music is a double edged sword for me. It is my favorite type of photography for a few reasons:

1. I’m a musician, 2.I love music and especially concerts,  and 3. I love the way live music can transfer onto a photo, as if you can almost hear what type of song is being played or what words are being sung.

The down side for me of taking photos at a concert is that when I bring a camera along, all I do is take photos. For example, at the moe. Haiti Benefit concert on Jan 23rd, I took 2,000+ photos. That is absurd. Out of those 2,078 photos, my first go through in Lightroom narrowed it down to a mere 504 decent photos, and after yet another round of cuts I was down to just over 50. From those 50+ I edited 25 in photoshop and posted 6 onto flickr that I was happy with.

Now if i was shooting the show for a client, taking 2,000 photos wouldn’t be so absurd, it might be necessary. But when I’m shooting for pleasure, that means I can’t see the forest for the trees. Of this concert was 2.5 hours, that means I was shooting one frame every 4.5 seconds. The entire concert! I wish someone was there to yell at me to put the camera down and enjoy the show.

Lesson: Sometimes you have to balance pleasure with photography. Limit yourself to 5 shots per song, or just shoot the first 3 songs like the pros in the pit do, and maybe the encore too. Or maybe, and this might sound crazy to digital junkies, take a film camera and only bring 2 rolls of film. That will make you choose your shots more wisely.

Using the sun to your advantage.

Monday, January 25th, 2010

For most of the daylight hours the sun is harsh and gives off flat light, terrible for most photos. However, during what is refered to as the “magic hour” (more like magic 20 minutes) around sunrise and sunset the sun can be a better light source than all the Profoto lights and gear money can buy.

These four photos all use the sun in different ways, giving 4 completely different looks to each image.

These are some headshots/promo shots I did for my friend Alena this weekend in Prospect Park, Brooklyn. As we were walking along a trail I noticed a great shaft of light coming through the trees and had Alena walk up the trail and stand right in it. Perfect backlight on her hair. This is a great example of making the available light work in your favor. The sun was just low enough that it had a really nice yellowish glow to it, but bright enough that Alena’s face  and the trees behind her are still exposed well. 10 or 15 minutes later the sun would be too low and we would have lost those direct rays highlighting her hair. Perfect case of right place at the right time.

Alena with the sun in her hair

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First NYT Shoot

Thursday, January 21st, 2010

The first call I got from Chad (my mentor extraordinaire) was to meet him at a small theater in about two hours. I had no idea who we were going to shoot, but I was excited. When I got to the theater there were headshots of about 20 different actresses, all rotating roles in a play called “Love, Loss, and What I Wore.” When Chad arrived he told me we’d be shooting Rhea Perlman (Taxi, Cheers etc…) and Lucy DeVito, Rhea and Danny’s daughter.

We met Rhea’s publicist and then did a quick tour of the theater to scout for shooting locations. Upstairs had these great big windows with some nice muted light coming in, so we set up a silk on a frame, tied the curtains back and did some test shots there. We figured we would shoot on stage first downstairs with the Profotos and then move upstairs for some natural light portraits.

We went back downstairs and setup two heads. Put a beauty dish with a silk on one and a softbox with a grid on the other.

When the call came that Rhea and Lucy were ready we had to carry the lights up to the stage and wasted about 5 minutes setting up and doing test shots with me as a stand-in. This would prove to be critical.

We set the beauty dish overhead and the softbox camera right a little bit over Rhea’s left shoulder.

We originally had only 10 or 15 minutes to get the shots, but the publicist managed to push back rehearsal time and get us an extra 10 minutes or so. I’ll tell you this: time flies in a photo shoot. Rhea and Lucy were great, having fun with each other, dancing, joking around and being playful. But before we knew it, time was up and Rhea called the shoot. We didn’t have time to go upstairs and do the natural light portraits, which would have been great, but it was largely our fault.

Regardless, Chad got some great images, and the Times ended up running two of them.

Lessons learned:

1. Always scout everywhere. The room upstairs with the nice light was in a different theater that we had to get the director to unlock for us. We never would have found it if we didn’t ask.

2. Setup your lights in the location you will shoot, before the shoot is going to begin.

Rhea and Lucy

Rhea and Lucy, Chad Batka for the New York Times

New York City

Thursday, January 21st, 2010

About 3 months ago I decided to move From South Korea to New York City to pursue photography. I got an internship with a stringer for the New York Times, found an apartment and let the pursuit begin. This blog will be an attempt to share what I learn from interning and trying to make the move from an amateur to professional photographer here in the Big Apple:

Brooklyn

Brooklyn

 

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