superfrog saves tokyo

Manami Hara, Tetsuro Shigematsu and Leina Dueck, in 'after the quake' by Haruki Murakami, adapted by Frank Galati, co-presented by Pi Theatre and Rumble Productions, November 19-December 5, 2009 at Studio 16 in Vancouver


Ken Bryant said...

This is from a commercial shoot, and the text beside the photo is the credit line specified in my contract. For more info on the play, see:



J. Evan Kreider said...

Of course I'm wondering what the superfrog is going to do, but, to the photograph. First, I am intrigued by your having no lines that are exactly level or vertical, yet the strong lines tend to be "off" by approximately equal values (to my eye). The horizontal divider (a composite?) is a bit generous to the frog, but helps create a confined space for the family. The lighting-through-the-cracks on the family gives excellent harsh values, sort of amplifying their plight. The lighting on the frog is more gentle, and he almost looks real. I'm curious, why did you decide to retain the lens flare spots--bubbles?

Ken Bryant said...

The horizontal divider is just a plank in the crate they're sitting in. No composites; just an extreme wide ange (14mm lens), a strobe with a grid to make it harsh light, filtered from the right through the planks; and a fill light from a softbox lighting the frog, and giving some fill, from the front.

I like the lens flare here, myself. It gives a rawness and a sense of how aggressive the lighting is.