Blue Angels in Manhattan - December 2013

I braved a cold, but sunny day last week (Friday, 13 Dec) to photograph the U.S. Navy Blue Angels flight team as they executed three photo passes alongside One World Trade Center, New York City.

I took these photos from the Paulus Hook ferry terminal, using a Nikon 300mm f2.8 as well as my trusty 70-200 f2.8 lens.

My First New York Times Photo

On Saturday, August 10, 2013, one of my photos appeared in the venerable New York Times, Arts section, page C5. The first time being published in the ol' Gray Lady is a special moment for any photographer.

Thank you to City Parks Foundation for facilitating The New York Times use of the image.

Click on the link below for the web version of the article and photo at the NYT website.

The New York Times Arts Section

Latin Songwriters Hall of Fame Slideshow - Billboard.com

I had the opportunity to cover the inaugural Latin Songwriter's Hall of Fame in Miami, Florida on April 23, 2013. I sat in the center of the auditorium, in the fourth row, with a great angle to shoot the three-hours of performances and awards presentations.

I used my D3s on "Quiet" mode, which is not actually very quiet, but with the amplification of the proceedings, as well as judicious shooting, I did not disturb the attendees around me. Normally I would be at the back of the house or shooting from the aisle with my Jacobsen Sound Blimp.

Check out the slideshow of some of my images from that evening here:

http://www.billboard.com/photos/1559216/latin-songwriters-hall-of-fame-winners-at-the-show-and-on-the-carpet?i=432528

Annual Report Photography

See the work we produced and shot for Reed Elsevier's 2012 Annual Report.

Copyright 2012 Michael Seto, All Rights Reserved.


The client specified a naturally lit, photojournalistic style, which is our specialty. However, we still prepared ourselves with strobe lighting and grip to fill and shape the imagery while retaining that documentary style.

The work involved a tech- and location scouting a week ahead of time, then a full day of shooting at a premier NYC law firm using actual attorneys.

The mandate called for visual portraying the benefits of intellectual property in an office environment, while remaining true to the real-life daily use of the information technology. We chose to focus on the interaction between the attorneys and the multiple devices used to access the information, such as iPads and workstations. 

We also utilized scenarios that illustrated more intangible benefits of the technology - efficiency, efficacy, and expertise.

As the layout and designers were based in Germany, we shot multiple scenarios in various locations in the firm's offices and the building to provide the client with a variety of images to select from.

Download the full report at http://reporting.reedelsevier.com/

East Village During the Sandy Blackout 2012

Some photos I took of the East Village during the post-Sandy blackout.

The view north, towards the Chrysler Building, from my rooftop, well in the dark zone.

Darkened streets lit only by headlights...

...and tail-lights.

Coffee sold by candlelight.

And a hardy loner remains behind in an apartment lit by candles.

The East Village Survivors Club sets up shop at Immigrant Beer and Wine Bar.

Profiled in PhotoShelter's Guide

Michael Seto Photography was recently profiled in a guide to Event Photography from PhotoShelter.

For a download of the full guide, go to http://www.photoshelter.com/mkt/research/growing-your-event-photography-business

Occupy Evicted?

Where did you go OWS? Photos from the brief Occupy Union Square protests in the spring of 2012.

Long Live Opera!

Okay, so I'm like Julia Roberts from Pretty Woman...that scene where she goes to the opera with Richard Gere and he says first timers either love it or may learn to appreciate it, but if the latter, it'll never be 'part of their soul.'

Well, color me happy because the first time I saw an opera at the Metropolitan Opera, it became part of my soul. Tosca to this day remains one of my favorites and opera I recommend to neophytes venturing to the concert hall for the first time. (Note, not a huge fan of the new production Met, please bring back the ostentatious yet eye pleasing Zeffirelli set.)






Top to bottom: Jennifer Johnson Cano, Emalie Savoy (with Yo-Yo Ma), Dmitri Pittas, Renee Tatum (L) and Layla Claire, Layla Claire, Angela Meade (L) and Jennifer Johnson Cano

Photos by and Copyright to Michael Seto 2011

But the opera is ultimately about the singing, and boy, what a set of instruments. So whenever there is an opportunity to see some opera, I take it, and this summer was no exception with the Met Opera staging six recitals around the city. And, as one of the City Parks Foundation photographers this year, I had a chance to capture some of the rising stars as they serenaded opera aficionados under open (and sometimes rainy) skies.

I was able to get a lot closer than my normal subscription seats (14 years running) at the Met allow - I'm up in the Balcony - so it's a treat to see the power, emotion, and performance up close. Recitals also give people a chance to hear a combination of classic and well known arias, one after the other, like going straight to the dessert cart. We're often familiar with these melodies from ads or movies or other sources, but it's nice to see them live and for newcomers to understand the context and the character - since most of the performers introduced each piece before they started.

Until then, see you at the Opera!

Ch ch ch changes...

I always see photos of the now defunct Vesuvio Bakery being sold by some of the stock photo street vendors.


An illustration of the constantly changing face of the City.



Photos and Copyrighted by Michael Seto.

Thanks for the Tip

A funny photo from a stroll in SoHo, speaks for itself.



Copyright and photo by Michael Seto.

Photos from the Doug Karr film Art Machine

I'm happy to be able to post some photos from a film I worked on last year, as the unit photographer. The images were recently made available to the public as part of the film's press kit.

These are from the feature-film, Art Machine, starring Joseph Cross, Jessica Szohr, and Joey Lauren Adams. The film is currently in post production.









See more about Art Machine at http://www.artmachinemovie.com/index.html

Images Copyrighted 2011 Art Machine / Photo by Michael Seto

Spring Arrives in NYC

Well, it feels more like we skipped most of spring and went straight to warm, humid summer.

One day it was 30F, and I wrapped myself under my heavy down comforter. The next day, I was rooting through my closet to find a pair of shorts as the temperature shot up to 65F.

This Easter Sunday, New Yorkers, tired of the long, cold, snowy, winter, flocked to Tomkins Square Park to enjoy an afternoon on the grass.

Winter of 2011 - Big Storm Number Two

New York City
27 Jan 2011







My backyard and front yard in the East Village, New York City, this morning, circa 7 am. Photos by Michael Seto.


The weather guys did not predict quite a big snowfall. Happy Thursday morning, 27 Jan 2011, New York City. Can you say global climate change?

Updated www.michaelseto.com Website

Good morning,

We have just revised, updated, and relaunched our website.

www.michaelseto.com

The primary change included adding larger photos and thumbnails for easier navigation. As well, a more streamlined and accessible list of our services, etc. We hope you like it.

The Blizzard of 2010

New York City
Dec 27, 2010

Some photos from the East Village after the blizzard of 2010. This is being called the sixth largest snowstorm in the city's history, with 20-inches deposited in Central Park.

Complexions Contemporary Ballet - Summerstage 2010

The Complexions Contemporary Ballet perform at the City Parks Foundation's Summerstage in Central Park, August 10, 2010. Photos by Michael Seto.

I got the wonderful opportunity to shoot a couple shows for the City Parks Foundation's music program, performed in parks throughout the five boroughs during the summer.

Live action performances in a low-light situation present some tough challenges for a photographer, from an equipment standpoint and then from a capture standpoint.

Equipment-wise, better performing gear will give you greater opportunities to get the shot. The low-light levels require a combination of fast-glass, lenses with a max aperture of f2.8 or faster, and a camera capable of shooting high-ISO (1600+) without a lot of noise. Higher end camera's also possess superior (read faster) auto-focus systems.

This combination allowed me to shoot at my selected ISO of 2500, with a shutter speed of 1/250 - essential to freeze the movement - at an aperture of 2.8. I normally shoot in Manual mode, selecting all three key exposure measures based on conditions and my intentions.

Whereas, a consumer zoom at f5.6 would require an equivalent shutter speed of 1/60, giving unusable amounts of motion blur, or a ISO of 10,000.

Often, the distance to the performers calls for a telephoto lens, in this case, I used the Nikon 70-200 f2.8. The 85 f1.8 and 50 f1.4 also come in handy in these situations...now if I can just pick up the 200mm f2.

Gear aside, the other challenge is, similar to sports photography, capturing the classic "decisive moment." When is the dancer at the apogee of her leap? When is the critical interaction between dancers? The peak moment of emotional performance?

If you have not seen the performance before, you don't know any of this and need to 1) guess, 2) anticipate, and 3) get lucky. For me, it's taking clues from the music, the body language and facial expressions of the dancers, do they tense or do something that "tells" an upcoming peak movement? Is the music reaching a crescendo? These often signal a critical moment in the performance.

The other aspect is to consider your shooting angle, be aware of what is in the background, are you singling in on one performer or taking in the whole? Are you leaving room in the composition for movement? Is the light silhouetting the performer? Side light? Back light? Gulp, hatchet light?

All these factor in - camera, environment, performers, and the photographer's skills and intent. When it works, it's a zen-like feeling, where I am aware of all these inputs, but at an unconscious level; I'm not thinking about it. I know what my settings need to be, I feel the music and the dancers, and the moments seem to pick themselves and the shutter fires. That's being in the flow of your work, and I find that I feel that most often when photographing a live performance.