Hi Scott, it's a 45-85 3.5 Pentax 645 lens with adapter. I just bought a Nikon 60 macro G which is fabulous, but was too large for this set.Looking at the depth of field in the image - did you use focus stacking?
Bima is a south american store, similar to Ikea. I work with my assistance, visual and production comes from the store. We have an hour for each shot and most of the time works fantastic.
Of course not all set are as nice as this one.
ACH
Since we're speaking small flash, shot with Quantum a month ago for a lifestyle health/fitness brand.
(http://spotsinthebox.com/malibu_sandles.jpg)
BC
Hello,
From the other day
Nikon D800E, Nikon 70-200 F2.8G and Nikon SB900/Pocket Wizard lights.
Ciao
Simon
Since we're speaking small flash, shot with Quantum a month ago for a lifestyle health/fitness brand.
(http://spotsinthebox.com/malibu_sandles.jpg)
BC
I used Nikon SB900 flash units attached to Pocket Wizard Flex TT5 receivers and then mounted on a Bowens adapter so I can use my Bowens modifiers.
This is the same model about 30 minutes later.
(http://spotsinthebox.com/bk_denim_1.jpg)
Hi Ian,
Glad you like the shot.
Here another one from the series.
These shots where used for a campaign for Kellogg's Nutrigrain.
Cheers
Simon
Thanks Rob and Ian,
This is the same model about 30 minutes later.
(http://spotsinthebox.com/bk_denim_1.jpg)
And since it's wet Wednesday this is a series I shot a couple of years ago for an energy drink campaign and packaging, re-licensed last week.
All with a P30+ and Profoto monoheads.
(http://spotsinthebox.com/rb_wet_blk_1.jpg)
(http://spotsinthebox.com/rb_wet_blk_2.jpg)
(http://spotsinthebox.com/rb_swing_blk_3.jpg)
(http://spotsinthebox.com/rb_bbal_blk_4.jpg)
BC
.........I'm wondering why you think it has anything to do with CCD over CMOS? As far as I know there are no medium format CMOS sensors on the photography market today. There are so many other factors involved that make a bigger difference in the look of a photo, AA filter, color filter tuning, and of course sensor size. I'd expect to see great midtone response from medium format of any kind.
Thing is I've done about a trillion digital files and the DCS 760, Valeo, Aptus 22, p30, p30+, p21+, Leica all have a somewhat common trait when it comes to sharpening and how the file moves when you start masking and moving different tonal values around on a layered file.
[...] I do see a difference in look and recently had an AD see it also (either that or it was a huge coincidence) as every image she pulled of ours for reference was shot with a ccd based camera.
[...]I rarely use live view on any of my dslrs and even with the RED's have added EVF Bombs to get away from standing 2 ft. back and looking at a lcd screen. I like having the world shut out when I look through a camera, but hey, that's just me.
I like having the world shut out when I look through a camera, but hey, that's just me.
Sadly most of what I shoot is on Canon so I do not get to post here that much. I was just going to add a back to my inventory but a new project just came along and I am upgrading and buying more Canon gear to meet the needs of it. Hopefully after this next project I will move on and add a new MF system.
I promise not to bore you with more Canon photos but I thought I would add one anyway. I actually did the RAW conversion on this one in Phocus as a tryout. Not as many options as Capture One but I am fairly pleased.
Thanks
Ian, this photograph has ruined my day. It's just 10.17am and I know that absolutely nothing built like that is going to pass in front of my nose today, tomorrow and almost certainly not the following days, weeks and months either.
Such unwarranted cruelty to a man on an island prison!
;-)
Rob C
Brings me to a deep question pondered by life's great philosopher, George Carlin...
1. "If a man is standing in the middle of the forest speaking and there is no woman around to hear him... is he still wrong?"
But not to lose hope,
2. "After all tomorrow is another day" - Scarlett O'Hara from movie Gone With The Wind.
I had to throw together a slideshow for a couple presentations I gave earlier this week. Culled the last few year's projects for new material... we've had some damn nice assignments!
http://christopherbarrett.net/CB_Portfolio/ (http://christopherbarrett.net/CB_Portfolio/)
CB
I had to throw together a slideshow for a couple presentations I gave earlier this week. Culled the last few year's projects for new material... we've had some damn nice assignments!Nice assignments maybe, but even better work. Really, really nice!
http://christopherbarrett.net/CB_Portfolio/ (http://christopherbarrett.net/CB_Portfolio/)
CB
Another one (Nikon, Kodachrome 64 Pro) from a Tennent's Lager calendar in the South of France.
I disliked having to use logos, but when they paid the bills... take the money and run?
Anyway, it shows the value of doing a recce first, and having yacht contacts! I sort of like the echo of breasts on the turrets of the Carlton hotel... (To be truthful, I sort of like them echoes or not. Both of them. Nice hotels and breasts.) Had a chat with their PR guy (the hotel's) about shooting in the grounds; told me that had it been wine, champagne, brandy, liqueur etc. it would have been sweet, but beer? Sorry, mon frère, not classy enough. How to disagree? I wonder if they sold beer? All we had were two Campari sodas whilst sitting on the outside terrace bar watching a chopper land on the deck of a superyacht. Cool.
Golden Age, anyone? Or just Golden People? I note that Eddie Jordan has a 155ft (47.5m) Sunseeker under construction due out 2014. I can hardly wait... 12 guests and 10 crew can be accommodated. I could live on that.
;-)
Rob C
How is it since you have been posting this I am very nostalgic about Kodachrome!
My latest obsession with incinerators... can't get enough of them ;D
I'm still in awe of that first image...simple and powerful. I'll also take 10 and 20.
My latest obsession with incinerators... can't get enough of them ;DVery nice, Paul. I enjoy the composition and tonality.
(http://www.paulozzello.com/ExternalImages/incinerator1.jpg)
Great image, if you cropped it top and bottom it would make 2 great images.
Where is it?
Very nice, Paul. I enjoy the composition and tonality.
Ed
Mount Juliet...
(http://www.ashleymorrison.com/2013-03/Juliet-166404.jpg)
.. in County Kilkenny.
.........But if it's raining, which it did for the most part here, then we just go shoot in other areas where I can control the light more...
My latest obsession with incinerators... can't get enough of them ;D
(http://www.paulozzello.com/ExternalImages/incinerator1.jpg)
Is there another Chris Barrett out their that is a photographer, or did you forget your password and need to create a new account?
I was actually so disgusted with recent threads that I deleted my account. But then I found that I couldn't go more than a couple days without Cooter's sardonic wit.
Nice composition.
I like compositions that don't go by the cookie cutter rule of thirds.
The image has an eerie depth to it and I like the way the motion blur of the clouds sort of "beats up nature" in the way incinerators do.
Image is "pretty" but still has an environmental dark side to it
Glad my post apocalyptic view of the world is being conveyed :)
I was actually so disgusted with recent threads that I deleted my account. But then I found that I couldn't go more than a couple days without Cooter's sardonic wit.
Hi Rob, and all....
I think for me the truly annoying thing recently has been this bashing of MFD ...
From most probably ' never owners' who continually 'ask/demand conformation' that MFD is over.... Seemingly to justify to themselves that staying with DSLR's was the 'right' choice.
Ok... So what... Who cares....?
Those of us with MFDB's just keep on doing our jobs with the tools we have, at least on here I get stimulated when I see great work, so so work and Rob's fab archive from the '70's 80's and 90's.
Keep it up guys, as WE know, a camera is a means to an end and enables us to do our jobs...
S
Frame grab from our new short film.
The thing that's of particular interest about this shot is we did it at night (you only get so many hours of daylight during Chicago winters). Love me some HMI's.
(http://christopherbarrett.net/forum_images/HC_Night.jpg)
Chris,
I'm glad you are still here. This is a great frame.
I think L(little)B(bittie)Cooter is available.
BC
Ahh, I should have tried that when "I-Wanna-shoot-Like-Cooter" returned as unavailable. Truthfully, though, I put my name out there because I feel that anonymity breeds social irresponsibility, as is all too evident in this forum. Anyway... back to image-making.
Hey Chris,
Social irresponsibility huh?
That's about the nicest comment I've received all week, on and off the computer.
BC
Oh, you know I wasn't talking about you.
You have a good eye for composition. Really nice compositions that go beyond the cookie cutter
composition rules are not that common. You also used long exposure in a manner that adds to the narrative
rather than just as a effect.
There are so many beautiful places that are scared by industry. Do a search for Port Hueneme superfund and powerstation.
Latest test shoot. Just came out in the spring Workbook this week. The navigator shaved off his beard the next day.
Latest test shoot. Just came out in the spring Workbook this week. The navigator shaved off his beard the next day.
Nice idea nicely executed but one big elephant in the field: four guys too many! On her own, she'd have been wonderful! (The girl - the elephant hasn't disclosed anything.)
;-)
Rob C
from Monument Valley... my first stab at shooting landscapes. Aww... black and white... how I've missed you.
(http://christopherbarrett.net/forum_images/Mnmt_Valley.jpg)
Hello,
My latest image for Hyundia.
Ciao
Simon
Hello,
My latest image for Hyundia.
Ciao
Simon
Home Office shoot for Herman Miller. AD wanted Bright and Airy but with Contrast and Saturation. Naturally it was overcast for almost the entire shoot. Sunlight through the windows is all HMI.
More at the blog post... (http://christopherbarrett.net/blog/?p=2397)
(http://christopherbarrett.net/blog/wp-content/uploads/2013/03/121003_003.jpg)
CB
Home Office shoot for Herman Miller. AD wanted Bright and Airy but with Contrast and Saturation. Naturally it was overcast for almost the entire shoot. Sunlight through the windows is all HMI.Great work Chris. Out of curiosity, did you find the locations or did the AD?
More at the blog post... (http://christopherbarrett.net/blog/?p=2397)
(http://christopherbarrett.net/blog/wp-content/uploads/2013/03/121003_003.jpg)
CB
Home Office shoot for Herman Miller. AD wanted Bright and Airy but with Contrast and Saturation. Naturally it was overcast for almost the entire shoot. Sunlight through the windows is all HMI.
More at the blog post... (http://christopherbarrett.net/blog/?p=2397)
(http://christopherbarrett.net/blog/wp-content/uploads/2013/03/121003_003.jpg)
CB
Dude. I think that's a little silly. Lamps look better lit. We're making photographs not socio-ecologic edicts. If we thought it was really a valid issue I would have removed the lamp and used a different prop rather than have it off.
Yes.
You can see lots of example here: Interiors (http://www.ampimage.com/images-02.htm).
Yes.
You can see lots of example here: Interiors (http://www.ampimage.com/images-02.htm).
- however, the masters of light (i.m.h.o.) are those who work in the Movie business - where they have to budgets to play with, to achieve some truly amazing results.
back to my shot above....
@ Chris, yeah I don't love the lamp reflection either. The easy way to handle that is to take an exposure with it off and drop in that window.
back to my shot above....Funny, I was talking to photo consultant who began his career as a gaffer in Hollywood. After doing that for a while, he began assisting; first shoot was an architectural shoot. He said he showed up, look at the lighting equipment they were going to use and said "is this it?"
@ Chris, yeah I don't love the lamp reflection either. The easy way to handle that is to take an exposure with it off and drop in that window.
@ John, I set the distance of the lamp from the walls to get just the level of light and falloff from it that I desired (while keeping it centered between the storage). This would have been one file except the rug was barely wide enough to fit the chair on. After exposing the main shot, we removed the desk and chair, I slid the rug to the left and exposed that to composite and "widen" the rug later. And... at home, my chairs are way nicer than the rest of my office.
Ditto, Man. The more narrative films I shoot (and we're small productions with 15-20 man crews) the more I realize that most still photographers know barely anything at all about lighting... and I include myself in that.
Not to mention how fun films are... just look how much we're all smiling! LoL
(http://sphotos-a.xx.fbcdn.net/hphotos-prn1/775763_590769800949475_1848936141_o.jpg)
I just opened up the latest edition of PDN to find our friend James Haefner featured about his top-secret photo shoot of the latest Corvette. The photo of the Corvette in it's car carrier is just incredible and creative and so very much shows his very enviable talent and professionalism!
Very Cool!
Ian, Thanks for the compliments!! I was thrilled about PDN's interest in running a story about the shoot. Here's a link to some of the other shots taken that day. http://www.luminous-landscape.com/forum/index.php?topic=28709.4200 Jim
I wouldn't say one is better than the other (film/stills) from talking with dp's they certainly don't look down on stills photographers who know how to light, and we can learn from each other.
Not every photographer is a good crafter of light and you see plenty of adverts on tv with big budgets lit with a sledgehammer.
Once the technical details are sorted somebody who understands lighting could light a room or a portrait whatever their background.
(http://sphotos-a.xx.fbcdn.net/hphotos-prn1/775763_590769800949475_1848936141_o.jpg)
For good skin tones tungsten is not bad, because the near IR in tungsten helps to render skin tone better [source: ARRI].I do think so too.
Funny, I was talking to photo consultant who began his career as a gaffer in Hollywood. After doing that for a while, he began assisting; first shoot was an architectural shoot. He said he showed up, look at the lighting equipment they were going to use and said "is this it?"
LOL
Nice to see that some people are actually making photographs and not just staying up all night trying to find flaws in sensor engineering. Go get 'em, Kirk!
Thanks guys!
:)
A nice little spread of mine in a very good local magazine-rammed earth construction in Corrales NM. Efthimios Maniatis Architect. Will also appear later in Dwell as stock. My images appear on the cover and pages 10,18 and 38-45. Great spread-most happy with it.
http://issuu.com/santafean/docs/su_casa_north_spring_2013_digital_edition#.UUoNw3zCWDY.facebook (http://issuu.com/santafean/docs/su_casa_north_spring_2013_digital_edition#.UUoNw3zCWDY.facebook)
Recent shot for a London based coffee magazine, i love shooting shiny things. (not final image just a screen grab with a few tweeks still to do)
... try ordering a good Rioja or Malbec in France ;D
... Girls are gorgeous and hornies,...
"So I comment your image with a link"
i didn't read anything more into the machine/my image than shiny chrome espresso porn. you pull on the lever and the get a lovely shot.
::)
Proper coffee has been spreading like wildfire here in London over the last couple of years, LaMarzocco have just opened a showroom here and there is a coffee festival in a couple of weeks.
That's what I like about London, we don't turn up our noses at things from other countries because we think ours is better, we take the best bits from wherever and make something new. It's like wine and beer, we make both but will bring the best stuff from all over the world so we have more choice. I can walk in a pub and choose a craft beer from various different countries and regional beer from the U.K. Try doing that in France where the local produce is 'the best', try ordering a good Rioja or Malbec in France ;D
Yes, London is a great city in many aspects. Like Johnny Rotten, I can't really relate to the glass buildings stuff they overdid. I like Foster, I lived years ago in a building designed by him, but too much bad Fosterism in the new arquitecture. The tower really looks like a dildo and Johnny's scooter helmet is spot-on. I particularly hate the hugly "Brighton's" Wheel. But it's a vibrant place.
The expensiveness was always there, but they went crazy in the late 80's. A friend of mine who passed away, suddenly went rich after he sold his appartment in London because the district he was living turned fashionable. He stopped to work with all the money and left London to live in a indian ocean island near the sea the rest of his life.
... I've all but given up trying to get you to look forward rather than backwards, but nevertheless still live in hope.
One only has to consider how fast food has become the norm of many...
This, for example, is just one part of a reality in wich we can decide to focus-on, or not. It's not a universal truth.
US has a HUGE problem with obesity. I've never seen so many obese people per meter-square anywhere else and the last time i was it litterally shocked me how bad it incresed to the point that I wouldn't be surprised if it becomes soon a US governement strategical concern. It of course has to do with garbage food habits, not to do with richness, with some first world obliged decadence.
Simply look at the japanese. Top developped country, you'd have hard time to find some obese people in the streets.
Genes? No, simply look at what they eat. They don't eat bloody burgers, Coca Cola and donuts, no.
Even the UK fish and ships with vinager is a sweet joke compared to the US industrial food habits.
Sorry, didn't mean fish&ships but fish&chips
Hi Rob,
What has that to do with your post? I don't know. It just came to my mind, when I read your post.
AND. Man – am I jealous about the images you took in your past. All these beautiful girls on the beach. Which brings me back to the image of the espresso machine. I originally wanted to post: "This is what I see, when I wake up in the morning." (I hope I'm not banned from the forum now.) I think the french would say: "Je me suis réveillé sous un arbre". Is that right fredjeang2?
Best,
Johannes
Damn Rob,
Don't you think with all this over positive, joy and sunshine outlook you might be sidestepping reality just a bit?
Ground yourself man.
BC
England is full of obese people, you really notice it when you leave London for the provinces, I'm a 'middle aged' 29in waist 6footer who years ago would be considered 'normal' but now I'm looked at as undernourished (I have a healthy appetite) when I was at school there was 1 'fat kid' now 30% are obese.
Well, I can tell you the Britain is now offically the worst country in Europe for the weight problem, and problem it is, because as they tell us, the Health Service won't be able to cope with the results. And that will affect everybody, regardless of how diet-conscious they may be.
I hate to say it, but Mac and the rest do good business in Spain... the Mac carparks we passed in France always looked pretty busy, but that might be because of the early lunch hours there...
Rob C
THIS is the cure, beleive me.
(http://www.madrid-restaurantes.com/wp-content/uploads/2012/08/sushi1-493x230.jpg)
and for the ones who really can't deal with japanese food, may this will convince you?
(http://images.eldiario.es/economia/Casino-Palmas-suspende-corporal-recibidas_EDIIMA20130129_0334_4.jpg)
Come-on! eating raw is healphy. Another one for the most recalcitrants.
(http://4.bp.blogspot.com/-yzqq9fUm0O0/UPbfbsAiIZI/AAAAAAADI90/dee0Kwp3JBw/s1600/Body-Sushi-Private+(2).jpg)
Now....
AT YOUR OWN RISKS
(http://www.foodhealthnews.com/news/wp-content/uploads/2010/07/forbidden-fast-food-mcdonalds.jpg)
THIS is the cure, beleive me.
Supermarket sushi is much more like typical fast food than you'd think, with a couple of California rolls packing as many calories and twice as much sugar as a Big Mac and French fries from McDonald's.
Not so fast, my friend!
While the prospect of eating sushi as served in the attached photographs is surely tempting (for a different reason though ;)), it shall be noted that:
as per this article (http://shine.yahoo.com/shine-food/sushi--not-that-good-for-you-after-all--184102369.html).
Kodachrome 64 Pro, Nikon F or F2 Photomic, 3.5/135 Nikkor.
Sand, palm fronds and a mango. But you knew that.
;-)
Rob C
Not so fast, my friend!
While the prospect of eating sushi as served in the attached photographs is surely tempting (for a different reason though ;)), it shall be noted that:
as per this article (http://shine.yahoo.com/shine-food/sushi--not-that-good-for-you-after-all--184102369.html).
Personal message to all the Big Pros:
Since this thread (version 1) first started, this is one that I have always thoroughly enjoyed. Being an amateur myself, I never wanted to put in my two cents when the Pros were discussing things.
But I've decided it's time to give a big Thank You to Simon, Bcooter, Kirk, Chris Barrett, Mr. Smith, and many others who have not only showed amazing stuff over and over again, but have been willing to share so much information about what they do and how they do it.
Perhaps best of all is the fact that while working for clients, you all seem to really enjoy what you are doing and continuously demonstrate imagination, creativity, and all that good stuff.
So again: Thank you all!
Eric M.
Thanks. I still find it hard to believe, 35 years later, that I get to do this for a living.
I think its might be interesting to ask how long everyone has been doing this stuff?
I'm at 32 years. I too have many times been amazed that I get paid for doing what I love.
I don't know if I have retired or am just waiting for the 'phone to ring; maybe it's not connected anymore... one day I'll check it out.Hello Rob? Rob? Are you there? Please pick up! I want to tell you how much I like your work, but of course I'm too cheap to spend any money on it. :(
Rob C
I think its might be interesting to ask how long everyone has been doing this stuff?
I'm at 32 years. I too have many times been amazed that I get paid for doing what I love.
Hello Rob? Rob? Are you there? Please pick up! I want to tell you how much I like your work, but of course I'm too cheap to spend any money on it. :(
Eric
Nice work Gipper.
You will like the Camranger combined with wireless usb. It will let you put your camera backed right up against the walls
giving you significantly more composition options.
Thanks, Fred. I'm actually more interested in the Camranger as a time-saver when I'm staging the scene. Hoping it will save alot of trips back to the camera when I'm making small tweaks to furniture and such. Assistants are never in my budgets, so I'm hoping this will gain some efficiency.
Thanks, Fred. I'm actually more interested in the Camranger as a time-saver when I'm staging the scene. Hoping it will save alot of trips back to the camera when I'm making small tweaks to furniture and such. Assistants are never in my budgets, so I'm hoping this will gain some efficiency.
Thanks, Fred. I'm actually more interested in the Camranger as a time-saver when I'm staging the scene. Hoping it will save alot of trips back to the camera when I'm making small tweaks to furniture and such. Assistants are never in my budgets, so I'm hoping this will gain some efficiency.
Do you shoot tethered? If so try Capture Pilot fro C1 Pro.
That won't give him what he is looking for. He want's to move around the room and make adjustments to furniture and props having
live view on a tablet wirelessly connected to the camera without using another wifi network or having to set up a PC or MAC that
is hard wired to the camera.
Antonio -- nice, and I'm jealous! I've been wanting to shoot furniture FOREVER. May have stumbled into an opportunity recently, working on a creative proposal this weekend.
I like the last one especially - but the first one seems a little flat, to me.
Hello,
In keep with the furniture theme.
Cheers
Simon
Antonio,
I'm surprised to feel this, but all your chairs seem alive to me.
I'm not sure I'm crazy about the chairs themselves, but the way you lit and photographed them makes them seem like characters in relationship to each other. Well done!!!
Best,
Mitchell
Do you shoot tethered? If so try Capture Pilot fro C1 Pro.
If anyone interested.. TIM GRIFFITH: Architectural Photography – Building Relationships. April 28 - May 3
http://2013.palmspringsphotofestival.com/connect-2013/workshops/tim-griffith/ (http://2013.palmspringsphotofestival.com/connect-2013/workshops/tim-griffith/)
Furniture? Naturally I have to chime in.
A favorite from recent history. One of the most fun parts of these shoots is arranging the set walls and platforms to add geometry to the composition and then of course lighting everything for depth and a bit of playful mystery.
(http://christopherbarrett.net/blog/wp-content/uploads/2012/09/Cumberland_Studio_001.jpg)
Craig,
No, I have never shot tethered. As nice as it would be I'm afraid it might be too time consuming lugging the computer & stand around with the rest of the gear. Hopefully the camranger will give me the best of both worlds.
I think its might be interesting to ask how long everyone has been doing this stuff?
I'm at 32 years. I too have many times been amazed that I get paid for doing what I love.
Harold,
Well made images.
Your comment on the Exacta brought back memories of my first left-handed, film-winding, waist level finder camera 1964, and your closing comment echos my sentiments for the past 45 years.
Ed
I don't think all the images are by full time professionals? A dealer and a couple of reviewers/bloggers and shot on a demo day where there is no art direction or client.
... day where there is no art direction...
...to get in the way?
Some photos from our IQ2 Pre-Launch Party a couple weeks ago.
Phase One IQ260 (https://digitaltransitions.com/blog/news/phase-one-iq260-and-iq280-what-you-need-to-know) Prototype on Phase One DF+ with Schneider 28LS andr 110LS. Profoto Pro-B4 w/ Beauty Dish. Processing: Capture One v7.1.1. Reviewed wirelessly without tethering on an iPad 3.
Images used with permission of the photographers. See watermark and link under the image.
(https://digitaltransitions.com/images/upload/dep/iq2-event/IQ260-Prototype_DF+_28LS_f5p6_500th_ISO50_HighlightRecovery_NatashaSavignon.jpg)
Photo by Doug Peterson (http://www.doug-peterson.com/)
(https://digitaltransitions.com/images/upload/dep/iq2-event/IQ260-Prototype_DF+_110mm_f2p8_50th_ISO200_CameraShake_NatashaSavignon.jpg)
Photo by Luke Potter (http://www.lukepotterphotography.com/)
(https://digitaltransitions.com/images/upload/dep/iq2-event/IQ260-Prototype_DF+_28mm_f8_500th_ISO50_DynamicRangeAndFlashSync_NatashaSavignon.jpg)
Photo by Alessandro Casagli (http://www.alessandrocasagli.com/)
(https://digitaltransitions.com/images/upload/dep/iq2-event/IQ260-Prototype_DF+_110mm_f4p5_500th_ISO100_FastFlashSync_NatashaSavignon.jpg)
Photo by Brian Hirschfeld (http://brianhirschfeldphotography.com/)
We will be hosting another round Phase One IQ2 events (http://www.getdpi.com/forum/commercial-vendor-sales-services/45219-upcoming-phase-one-digital-transitions-events-ny-dc-tx-co.html) coming up in April and May in Washingon DC, Colorado, New York, and Texas.
Two older images, just published: Charras and charros in the Los Angeles area.
(http://martinrangerimages.com/blog/wp-content/uploads/100522204456_w.jpg)
(http://martinrangerimages.com/blog/wp-content/uploads/100522155230_w.jpg)
Two older images, just published: Charras and charros in the Los Angeles area.
(http://martinrangerimages.com/blog/wp-content/uploads/100522204456_w.jpg)
(http://martinrangerimages.com/blog/wp-content/uploads/100522155230_w.jpg)
Photo 2: Blue cast in the white of the eyeballs, yellow cast on the highlight on her nose..
Photo 4: Skin looks plasticy and nasty blown out whites on the sky..
Fred, you are probably not really good at read light. This is mixed lighting with what looks like a lot of skylight, hence the blue. The clouds are really bright and being outside depth of field will take out detail. You really need to get out of the studio more often.
Naturally, if this was not a Phase product demo would probably would not have posted. I am sure the photographers did not ask for your 2 cents. I don't believe this is a critique thread.
If you really want to be a stickler...... It's a recent professional Works thread, not a marketing event thread.
I seriously doubt any of the photographers would consider the shots they did at a product party "professioanl work" or an expression of what they are capable of.
I'm sure they each only had a few moments with the cameras.
Regardless there are loads of technical comments on images in this thread....
My point is that these images and how they are processed are not representative of a sensors capability, especially the way they were processed. I doubt they were processed by the photographers.
Regarding the plasticy skin and blown out clouds... it's not about the depth of field... there is tonality even in very blured objects.
The file is seriously clipped
(https://digitaltransitions.com/images/upload/dep/iq2-event/IQ260-Prototype_DF+_110mm_f4p5_500th_ISO100_FastFlashSync_NatashaSavignon.jpg)
Levels of the whole image:
(http://farm9.staticflickr.com/8398/8644516680_509d931870_o.jpg)
Both Blacks and highlights are seriously clipped.
Crushed blacks should be achieved without clipping so harshly.
Always found that to be a limitation of C1 that does not have the same control of ACR 2012 process that has separate Shadow and Blacks sliders.
Regarding the skin.... the so so skin look is due to the red channel being way to hot and clipped:
Levels of a crop on the skin.
(http://farm9.staticflickr.com/8257/8643421447_96b53ea40e_o.jpg)
Fred, there is more to an image than a histogram. Just because it does not meet your personal criteria does not mean anything. Actually, the technocrat generally makes boring images as they limit themselves to purely technical interpretations to images. And I am sure you would never have pushed detail down into the shadows or let the highlights blowout for effect. Please refrain for using other photographers and their work for one of your crusades.
I'm glad you like it Larry!
ACH DIGITALMe too. They're great!
Keep on with the series. I really like these. Love the toning.
Larry
ACH DIGITAL
Keep on with the series. I really like these. Love the toning.
Larry
From my new series Collected and Treasured.Beautiful works, thanks for sharing
Got my copy of New Mexico Magazine in the mail today so it is official. I have two covers on the stands at the same time-been a few years since that happened last.
(http://sphotos-a.xx.fbcdn.net/hphotos-ash3/15247_10200951289854448_1433000969_n.jpg)
Que bueno! Very well done, Antonio, especially the hibiscus flower. The shell series you posted earlier is outstanding.Thanks Ed..
Ed
The SC image was the last shot of the day (almost too dark) we were running to catch the last light-shot with a bit of halogin fill in the interior and exterior. Pretty straight forward really. The biggest accomplishment was just getting it before the sky light died-I don't shoot exteriors once the sky is pitch black-to harsh.
I think most of the "twilight" exteriors I see are shot about 20 minutes too late, and they end up being reverse silhouettes of windows. Dawn twi's are even harder to time properly.
nice to see a bonnet (hood for new world english speakers) without the edge of a floating ceiling or the return of the cove diagonally across it which is just lazy lighting, it's domed too so will be seeing a big area.
I recently tried a few different shades of floor paint, white, gray and black. It had been so long since I'd painted my studio black (existing paint was from 2008) that when I ordered more I found that the company had gone out of business. Anyways, either white or gray works well, gray if you want a bit more contrast (just the floor), if you were to paint the whole stage gray it's no different than exposing longer with a white stage (if you're in an eggshell cove). Using flying flats is what allows me to light with any contrast range I'd like and with the advantage of PS voodoo the car will look great almost regardless of lighting method. My website's Advertising>Recent Work has more of the Cadillac images and other shots taken in the studio (although some placed in location backgrounds). Attached are a couple views of my studio illustrating flying flats and strip lights. Jim
I recently tried a few different shades of floor paint, white, gray and black. It had been so long since I'd painted my studio black (existing paint was from 2008) that when I ordered more I found that the company had gone out of business. Anyways, either white or gray works well, gray if you want a bit more contrast (just the floor), if you were to paint the whole stage gray it's no different than exposing longer with a white stage (if you're in an eggshell cove). Using flying flats is what allows me to light with any contrast range I'd like and with the advantage of PS voodoo the car will look great almost regardless of lighting method. My website's Advertising>Recent Work has more of the Cadillac images and other shots taken in the studio (although some placed in location backgrounds). Attached are a couple views of my studio illustrating flying flats and strip lights. JimJim, are you using that second shot as a promo piece for yourself? Looks like a very well planned out and set up image of your studio; too good for just a quick shot to us your space.
Congrats, Kirk!!
Mike.
Jim, are you using that second shot as a promo piece for yourself? Looks like a very well planned out and set up image of your studio; too good for just a quick shot to us your space.
@ Chris Barrett
very nice, I like the pictures very much!
Simon, Martin, thanks for your comment, if it makes you thirty means I did right then.!
I shot the bottle too but it needs to go to plenty retouching. The label was a transparent plastic sticker and does not have good color reproduction. The artist have to make their ways on it.
ACH
Well Rob sorry for the typo, but if you send me your photo I might make you look 30 or 28 again. Jajaja
ACH
p30+, Contax, 800 watt Broncolor HMI, 1/2 stop spun, bounced into white card.
(http://www.spotsinthebox.com/paris_ae_ca_web.jpg)
Paris a couple years ago. re imaged for advertising this week.
IMO
BC
This is brilliant, and a divine revelation
For me as I'm looking for a similar Skintone
In motion.
I had doubts it could be too artificial but
Looking at this image, if it's nailed, as Rob
Described "porcelaine", it really looks pretty
And mysterious.
I will do another Avid tutorial on face retouching
Using only on purpose the avid available tools
And roto within the editor without any compo app.
Got a shot (CU) of an actress that has many lightning
And make-up issues. So the task will be a complete
Recovery of the face, with tracking masks etc...
And this image skintone is exactly what I want
As a final result.
Great inspiring image. Thanks for posting.
As an AP, I never deal with skin tones. How difficult is it working with skin tones in post?
Well it depends on many factors, how bad, or far from the final output the original image is.
nice portrait Emil ! What was the key light source and the lens used ?
Interesting video on how Apple images are made. Still Life Studio Photography on MF.
You might want to re-read the article. He shoots Apple's products on a Canon 5DIII with a 24-70 Canon zoom.
(http://www.russellrutherford.com/julia_spot.jpg)
The 5DIII was for the time-lapse. Also, does this guy actually shoot Apple's product shots or just the magazine's? The style feels fairly different from Apple's ads.
Interesting coincidence:) This one is shot in 2007, but just reprocessed while trying new skin tone settings in RawTherapee
(http://www.michaelezra.com/Projects/Posts/LZA_356_Web900px.jpg)
Michael... that is just absolutely beautiful. It's naturalness is what in my eyes makes it so beautiful with gently tonalityI completely agree with Fred. Your work is always first class, Michael.
combined with artificial light that has all the credibility of natural light.
The smooth on the dress and the crisp texture in the dress reminds me of a Vemeer.
You take pictures like Miles Davis plays the trumpet.
I completely agree with Fred. Your work is always first class, Michael.
Eric M.
Self assigned project to go shoot some motion for stock. Out of the sunroof of my truck, 10 mph, 24 fps. Red Epic & Canon 17-40 zoom. HDRx to tame the sun's reflection.
(https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-ash3/967201_10200679700609978_1412704575_o.jpg)
CB
Thank you for such kind words, Fred:)
We had a very productive session with this model, I come back to it from time to time, and this image is one of my personal favorites.
She was just getting dressed and was about to leave, but I asked her to pause it for a minute:)
Self assigned project to go shoot some motion for stock. Out of the sunroof of my truck, 10 mph, 24 fps. Red Epic & Canon 17-40 zoom. HDRx to tame the sun's reflection.I love that building, I think it has the best cross section profile of any skyscraper.
(https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-ash3/967201_10200679700609978_1412704575_o.jpg)
CB
Nice little interiors project. The austere esthetic was driven by the German client. The severity of it warms my cold heart.
(http://christopherbarrett.net/forum_images/TK/121005_001.jpg)
(http://christopherbarrett.net/forum_images/TK/121005_003.jpg)
(http://christopherbarrett.net/forum_images/TK/121005_007.jpg)
(http://christopherbarrett.net/forum_images/TK/121005_014.jpg)
C -> B
Hello,
One in a series of images shot at a local winery for a wine bottle manufacture.
Nikon D800E with a Diana lens fitted.
Cheers
Simon
Ashley,
Beautiful light and colours.
ACH
From the recent Las Vegas trip. The Clark County Wetlands Park Nature Center by Dekker Perich Sabatini. The big issue on this shoot was the lighting. It is controlled at a central facility downtown. Two nights in a row they promised the lighting was going to be on in the building. By the final night we didn't believe them and came prepared-we lit the interiors ourselves with halogen-half with halogen we brought from Albuquerque and half shop lights we bought at Home Depot. Also not only did they not get the lights on but managed to kill the hand rail lights at the top and left of the arched walkway. We solved this by splicing in those areas from a test shot we did the first night we got there. Like nothing I have ever done, AP is all about solving seemingly insurmountable problems in the field.
Kirk, Looks like you nailed it!! Bummer about the lack of cooperation! Jim
The big issue on this shoot was the lighting. It is controlled at a central facility downtown.
chris, i like your interiours very much! the straight look is amazing.
would you mind sharing some details for those shots? focal length, lighting...? ::)
something like this...
(http://christopherbarrett.net/forum_images/Bond_Anime.gif)
My contribution today. Natural looking recipe for a Home and Kitchen client.
(https://dl.dropboxusercontent.com/u/10120389/Magefesa-Recetas-05131040.jpg)
something like this...
My contribution today. Natural looking recipe for a Home and Kitchen client.
Something a little different for me...
My client had to make changes to an existing chapel to facilitate a relocated (humongous) pipe organ. The finished image is a composite of 15 exposures. 6 or so were for an HDR layer of the blown hilights. The rafters were lit with a head on a rolling Hi Boy that moved 6 or 7 times. The chairs were lit one side at a time and we had strobe bouncing in the Narthex to create depth and layers. They gave us a day to do the shot. We did this one and a vignette in half a day. Really fun assignment!
(http://christopherbarrett.net/forum_images/Bond_01.jpg)
Hah ha ha... yeah... this is actually what I consider fun. Pre-visualizing all the components on location, keeping them straight, lighting for them and knowing how they'll interact in post is a hell of a challenge. From what I've seen of Jim's breakdowns, this is very similar to car photography.
something like this...
[picture]
Hello. First post here (I think). Years watching. Rolleiflex T and T-max 100.
Well done, Antonio! Each post is better than the last.
Regards,
Ed
Something a little different for me...
My client had to make changes to an existing chapel to facilitate a relocated (humongous) pipe organ. The finished image is a composite of 15 exposures. 6 or so were for an HDR layer of the blown hilights. The rafters were lit with a head on a rolling Hi Boy that moved 6 or 7 times. The chairs were lit one side at a time and we had strobe bouncing in the Narthex to create depth and layers. They gave us a day to do the shot. We did this one and a vignette in half a day. Really fun assignment!
(http://christopherbarrett.net/forum_images/Bond_01.jpg)
Chris, It is a similar workflow and occasionally I'll apply it to my architecture as you did. I shot a comparable room for a personal project I'm working on but it was quite a bit lighter so I didn't need additional lights. I've attached the photograph, it's one of the few shots I made with my Arca RM3di(35mm Schneider). I miss working with that camera but I couldn't justify it's cost when the majority of my architectural work needs to be done faster than it will allow. I ended up trading it in for a 5Dmk3 and another 17 and 24mmT/S.
By the way, a Cadillac project I worked on last March had a behind the scenes video produced (by Cadillac) of the shoot which then became the announcement for the car at the annual dealer show in Las Vegas. Here's a link to my blog that has links to the videos.
http://www.jameshaefner.com/news/
But that's cheating, Craig: this isn't really the implied single exposure either.
;-)
Rob C
Don't know how I missed your post - anyway, better late than never.
Welcome to the scene, and I have to say, when I had my Rollei T it was well before it (or I) had the chance to do this sort of work!
Mine was usually fiull of TXP 120 - never really used anything else on 120 format other than FP3 a few times which didn't work on 120 (for me) but was great on 135... By the time T-max was out I had no more 120 cameras.
Nice tones in your shot - I never get skin like that with digital capture b/white conversions.
Rob C
Thank you for this! very interesting.
My latest project:
(http://www.adrianschulz.de/forum/Aptus_000148kl.jpg)
I really don't like the lamps in the upper part of the picture, but this is how it is now.
But that's cheating, Craig: this isn't really the implied single exposure either.
;-)
Rob C
No, IMHO it called problem solving and masterfully done too.
Hi Craig,
did you take that shot in your basement? ;-)
Best,
Johannes
That is what we used to do with film but there were many issues that are better with DC like registration and braceting exposure on each component without having to start the sequence over again with a new sheet of film. I still like film for many things but NOT a shoot like this. I apologize for misinterpreting your statement. It didn't sound like you actually.
If you're feeling hungry, be my guest.
(https://dl.dropboxusercontent.com/u/10120389/Magefesa-Recetas-05131143.jpg)
Fascinating room, Adrian. Where is it?
Jeremy
Its an old indoor swimming pool from 1917 in Heidelberg, Germany, which they converted into a market hall (well, and Restaurants, Bar, Wellness, Hotel ...)
I'm always drawn to these places before the developers move in.Good idea.
Interesting. Sympathetically done, too (apart from the lights).
Jeremy
Okay, one of my last commercial shoots, for a friend's sales brochure for her yacht.
Nikon F4s, Kodachrome 64 or Velvia 50 scanned via CanoScan FS4000US.
Location: off Palma de Mallorca, Baleares, Spain.
Rob C
(http://sphotos-a.ak.fbcdn.net/hphotos-ak-ash4/468090_10201183091849353_1830616608_o.jpg)
Another from the Clarke County Wetlands Park in Las Vegas NV by Dekker Perich Sabatini in late afternoon light.
I prefer the after sunset version, but this is nice.
Me too, but I try and need to offer my clients a lot of variety for their various requirements. Most of my clients are architects and need images for marketing and design competitions etc. Therefore I need to cover a building thoroughly. Rather than just boring documentary photographs of various angles I always try to capture them in good luscious light.
Great project (hate those tables....)
Rob, you did good. How many images did you use for the composite? :) :)
... the rendition of circular objects such as the lampshade in the second image and its relationship to the table beneath...
Nice light outside as we were wrapping our interiors shoot...
(https://sphotos-a.xx.fbcdn.net/hphotos-ash4/482498_10200725216307842_173832988_n.jpg)
Gosh, I was seeing exactly the same on the same image and it really disturbed me. I wanted an eraser to remove it.
Totally drives me nuts, but it's a function of perspective. If you made a mechanical drawing of the same composition from the camera position (to accurate scale) the circles would render with the same distortion. Sometimes I do correct for this by rotating the camera until the round object is centered in the lens and then shifting the back to retain the same composition... I did this just yesterday, but it's impossible when composing a 1 point perspective that is square to the architecture.
Actually the linear elements in the shot show the same degree of "distortion". We just don't perceive it as much as we do with circles.
CB
p30+/Contax
(http://www.russellrutherford.com/p30plus_stills_recent.jpg)
Shot with HMI's, Winow Light and some cutters.
Red (the medium format of the digital motion world)
(http://www.russellrutherford.com/red_stills_recent.jpg)
Shot at a trillion ISO with one small hand held led.
BC
My contribution today. Natural looking recipe for a Home and Kitchen client.
(https://dl.dropboxusercontent.com/u/10120389/Magefesa-Recetas-05131040.jpg)
Sure, we used 4 diffusion screens like you see in the image, 2 soft boxes, one large to cover the back and top screens, one medium form the side and 2 raw lights that were used alternately depending on the ambience of the shot. Main power was the left one.
(https://dl.dropboxusercontent.com/u/10120389/la%20foto.JPG)
p30+/Contax
(http://www.russellrutherford.com/p30plus_stills_recent.jpg)
Shot with HMI's, Winow Light and some cutters.
Red (the medium format of the digital motion world)
(http://www.russellrutherford.com/red_stills_recent.jpg)
Shot at a trillion ISO with one small hand held led.
BC
Totally drives me nuts, but it's a function of perspective. If you made a mechanical drawing of the same composition from the camera position (to accurate scale) the circles would render with the same distortion. Sometimes I do correct for this by rotating the camera until the round object is centered in the lens and then shifting the back to retain the same composition... I did this just yesterday, but it's impossible when composing a 1 point perspective that is square to the architecture.may I ask ... why don't you just retouch it?
Actually the linear elements in the shot show the same degree of "distortion". We just don't perceive it as much as we do with circles.
CB
may I ask ... why don't you just retouch it?
All your images are so absolutely wonderful minimalistic and straight... so why let the lens determine the final image?
may I ask ... why don't you just retouch it?
All your images are so absolutely wonderful minimalistic and straight... so why let the lens determine the final image?
Here is a picture of a lunchroom. Straight out of camera and unretouched. No distortions, tho ;)Cool shot, however I can not really figure out what is going on with the design. Is that the intention.
(https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-prn2/971181_10200750577861865_1273494874_n.jpg)
Hah! We do actually have an overall shot of the lunchroom. I rarely get to make shots like this, but the marketing person from the firm said that he will actually use this a lot!That is what I thought. If not, I was hoping you could post the plans so I could figure out what the space looked like.
;)
Hah! We do actually have an overall shot of the lunchroom. I rarely get to make shots like this, but the marketing person from the firm said that he will actually use this a lot!
;)
There should be a LIKE button on LuLa.
Coot,
Watching the below sepia images, I have a question regarding Red if you see this post.
As everything is built on metadatas and therefore non-destructive, my doubt remains on the isos.
Let's take this scenario shoot on Red: if one decide to shoot pushing the isos to extreme levels on purpose (and not because it lacks light)
for ex to get a 16mm grain, and after that you give-up with the idea and want to revert to a clean image to do something completly different,
are the isos also non-destructive?
So for ex, can you take those high-isos images on RCX and going back to 800 the typical high-isos grain would disappear?
I ask this question because never had very high isos Red footage on edit.
Here is a picture of a lunchroom. Straight out of camera and unretouched. No distortions, tho ;)LIKE! :D
(https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-prn2/971181_10200750577861865_1273494874_n.jpg)
Here is a picture of a lunchroom. Straight out of camera and unretouched. No distortions, tho ;)
(https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-prn2/971181_10200750577861865_1273494874_n.jpg)
[/quote
LIKE.
I have clients who would go ape-shit for this. And others who would say, "Whaaa....?" I prefer the former.
But, to answer your question, if I dropped the iso down to 800, and moved the exposure way up to compensate the noise was still there, but it depended on the original exposure and voume of light more than anything.
From my Patagonia shoot.
My client feedback is pretty clear, they love the waterfall.
Out of 3500 shots, I will publish 5-10 all developed to Fuji crystal archive paper and face mounted to acrylic
5-10 pieces on a ten day shoot is pretty productive for me.
Florence Welsh (waterfall on the Fitz Roy)
Pentax 645D 35mm AF stacked GND filters,CPF
Guardians
Pentax 645D 35mm AF CPF
Small things, suite of Four
Pentax 645D 35mm CPL
A project I am currently shooting in NM for a lighting designer in NY.
I like it but man would that look hot with an orange sky :)
On a side note: LEDS have really changed lighting...
From my Patagonia shoot.
My client feedback is pretty clear, they love the waterfall.
Out of 3500 shots, I will publish 5-10 all developed to Fuji crystal archive paper and face mounted to acrylic
5-10 pieces on a ten day shoot is pretty productive for me.
Florence Welsh (waterfall on the Fitz Roy)
Pentax 645D 35mm AF stacked GND filters,CPF
Guardians
Pentax 645D 35mm AF CPF
Small things, suite of Four
Pentax 645D 35mm CPL
You may wonder why I left the sign in. If this image was for me I would take it out,
I think that sign makes a brilliant addition. Almost makes this a prime candidate for the street-photography genre. Not so sure about that fence-pole or whatever it is. And the blueish lensflare(?) is rather immediately distracting. But great image nonetheless...
Thanks. I haven't turned this over to the client yet and am still thinking about the pole and the little one too, but I don't know what blue flare you are referring to? I just went back and looked closely over that image and see no flare. Are you talking about the light cloud edge at the top left of center? On close inspection it does not appear to be flare.
Thanks. It would be a strong image that way for sure, but I'm not sure I would prefer it over the blue. My clients, including Tillett Lighting Design in Brooklynm an architecture professor at UNM and the city, went bonkers over this. To me the blue associates the pedestrian bridge with the sky which makes it more ethereal. Besides I live in New Mexico and I get weary of flaming sunsets :). Here is another. You may wonder why I left the sign in. If this image was for me I would take it out, but this bridge is in a really unromantic part of town-there is a strip club next to one end and warehouses on the other. The clients want to emphasize this project as a jewel in an otherwise unremarkable urban setting and show elegant infrastructure can transform an area.
Thanks. It would be a strong image that way for sure, but I'm not sure I would prefer it over the blue. My clients, including Tillett Lighting Design in Brooklynm an architecture professor at UNM and the city, went bonkers over this. To me the blue associates the pedestrian bridge with the sky which makes it more ethereal. Besides I live in New Mexico and I get weary of flaming sunsets :). Here is another. You may wonder why I left the sign in. If this image was for me I would take it out, but this bridge is in a really unromantic part of town-there is a strip club next to one end and warehouses on the other. The clients want to emphasize this project as a jewel in an otherwise unremarkable urban setting and show elegant infrastructure can transform an area.
Thanks. It would be a strong image that way for sure, but I'm not sure I would prefer it over the blue. My clients, including Tillett Lighting Design in Brooklynm an architecture professor at UNM and the city, went bonkers over this. To me the blue associates the pedestrian bridge with the sky which makes it more ethereal. Besides I live in New Mexico and I get weary of flaming sunsets :). Here is another. You may wonder why I left the sign in. If this image was for me I would take it out, but this bridge is in a really unromantic part of town-there is a strip club next to one end and warehouses on the other. The clients want to emphasize this project as a jewel in an otherwise unremarkable urban setting and show elegant infrastructure can transform an area.
Why would one want to remove that sign? Occupational deformation?
It perfectly depicts that bit of human confusion that one should always strive for in any photographic endeavor.
It complements the grandeur of the architectural object that even so lets you move in one tangential direction only. Equally so for how a highway is designed. Ah, but not so the sky! A beautiful representation of nature with an ever so slight movement visible. Do people not see this? Or do they simply not care?
The sign is not an element, it is a statement. It is not a distraction that needs removal, it attracts our attention to a broader message: that movement designed by humans is oddly restrictive versus the freedom of movement in nature depicted by the sky so brilliantly.
I would be tempted to adjust the image to somehow draw more attention to the sign, and then vehemently defend its existence as a very relevant element to any client who might want to remove it. Fortunately they don't.
That's frackin awesome. I hate the sign. It doesn't speak to the roughness of the area, it's just an ugly traffic sign, a blight upon your gorgeous shot.
Kirk, This shot tells the story better for me. Great composition and color, sorry to hear the sunsets are getting boring! I'll trade with you!! Jim
Because in my opinion, ANYTHING that pulls your attention away from the architecture I try and remove. My job with my commercial AP is to illustrate and drive attention to the architecture-period. It is an old school ideology for AP (no offense Iwan Baan) but it is my long held ideology.
Hi Kirk,
is there a version with the strip club in the image ;-)
Don't be shy. Eugène Atget did it: http://images.zeno.org/Fotografien/I/500-635/PHO00563.jpg
Best,
Johannes
... Because frankly, the image primarily lives on the foundations of a "pleasing palette", not particularly on the basis of an impressive piece of architecture...
Light, whether sunlight or artificial is essential to every architectural design. There is no separating them.
…
-I'm there to fullfill his/her imagination.
I think there is another possibility: it becomes an "impressive piece of architecture" at night, precisely because of the "pleasing palette" of its lighting?
The wires in the window were removed later on.
Rob, dare I suggest that the title is as good, if not better, as the image? ;)
That would fly if we actually saw the colors as they are reproduced here. As much as I would like that: by choice seeing stripes of light as opposed to cars driving, or consciously adjusting whitebalance so I see orange, I can't do either. I also find it hard to comprehend that the glow of the evening sky is less saturated than the artificial lights in the scene before me. I don't have a problem with it as an artistic representation, but surely this isn't even close to daily reality.
(In fact, i think in practice this will give me the shivers. Junky-deterrent-blue pretty much always does.)
White balance was set for daylight. ... it flies in the face of my 35 years experience in the architectural photography marketplace.
I don't have a problem with it as an artistic representation, but surely this isn't even close to daily reality.
or consciously adjusting whitebalance so I see orange
Well, it's NeoCon... the world's biggest commercial furniture expo and I am absolutely drained. We've put in about 8 days or work so far (in 7 actual days) and produced some work that I'm really happy with at Herman Miller and a couple other showrooms.
We were working around construction, installation and styling the whole time. The space just outside of every composition is a mess of workers, furniture and props EVERYWHERE. I have ingested more caffeine in the last week than I care to admit and have filled up nearly a TB worth of Hard drive space. The images, while not quite straight out of camera only had time for about 15 minutes of retouching each before they had to be turned around for the monday morning web launch.
(http://christopherbarrett.net/blog/wp-content/uploads/2013/06/130603_009.jpg)
More at the blog... (http://christopherbarrett.net/blog/?p=2568)
CB
Well, it's NeoCon... the world's biggest commercial furniture expo and I am absolutely drained. We've put in about 8 days or work so far (in 7 actual days) and produced some work that I'm really happy with at Herman Miller and a couple other showrooms.
We were working around construction, installation and styling the whole time. The space just outside of every composition is a mess of workers, furniture and props EVERYWHERE. I have ingested more caffeine in the last week than I care to admit and have filled up nearly a TB worth of Hard drive space. The images, while not quite straight out of camera only had time for about 15 minutes of retouching each before they had to be turned around for the monday morning web launch.
(http://christopherbarrett.net/blog/wp-content/uploads/2013/06/130603_009.jpg)
More at the blog... (http://christopherbarrett.net/blog/?p=2568)
CB
Chris, excuse me if I'm mistaken, but am I looking at a bathroom?I think that's a pencil (or two) in a cup, not a toothbrush.
I'm sure I detect a toothbrush in a mug, but I'm completely thrown by the screens and chairs. Please tell me I'm mistaken.
Rob C
Chris, excuse me if I'm mistaken, but am I looking at a bathroom?
I'm sure I detect a toothbrush in a mug, but I'm completely thrown by the screens and chairs. Please tell me I'm mistaken.
Rob C
Well, it's NeoCon... the world's biggest commercial furniture expo and I am absolutely drained. We've put in about 8 days or work so far (in 7 actual days) and produced some work that I'm really happy with at Herman Miller and a couple other showrooms.
We were working around construction, installation and styling the whole time. The space just outside of every composition is a mess of workers, furniture and props EVERYWHERE. I have ingested more caffeine in the last week than I care to admit and have filled up nearly a TB worth of Hard drive space. The images, while not quite straight out of camera only had time for about 15 minutes of retouching each before they had to be turned around for the monday morning web launch.
(http://christopherbarrett.net/blog/wp-content/uploads/2013/06/130603_009.jpg)
More at the blog... (http://christopherbarrett.net/blog/?p=2568)
CB
Nice images as usual Chris.
Many years ago I shot in the Shaw Walker display, following a crew shooting motion. The grip from the motion crew placed a tota-light too near a sprinkler head. Needless to say the shooting stopped :)
congrats Kirk. :)From me, too. I'll look for them the next time I get to NM.
I was recently honored by the acquisition and permanent installation of two of my Chaco Canyon prints in the NM State Capital-"the Roundhouse". The Roundhouse houses a premier art collection of state artists (as well as the state legislature)and I am very honored to be in it. It is a very selective collection of some 600 works-all of which are on permanent display. As space runs out they become increasingly selective. Some years ago I approached them twice-got nowhere and basically gave up, but last year a board member approached me at a group show I was in at the Albuquerque Museum and it finally happened. Scanned 4x5 Tri-X Film with orange filter.
Well, it's NeoCon... the world's biggest commercial furniture expo and I am absolutely drained. We've put in about 8 days or work so far (in 7 actual days) and produced some work that I'm really happy with at Herman Miller and a couple other showrooms.I like this. Beautiful work as always.
We were working around construction, installation and styling the whole time. The space just outside of every composition is a mess of workers, furniture and props EVERYWHERE. I have ingested more caffeine in the last week than I care to admit and have filled up nearly a TB worth of Hard drive space. The images, while not quite straight out of camera only had time for about 15 minutes of retouching each before they had to be turned around for the monday morning web launch.
(http://christopherbarrett.net/blog/wp-content/uploads/2013/06/130603_009.jpg)
More at the blog... (http://christopherbarrett.net/blog/?p=2568)
CB
Awesome, Kirk. I need to get out there with you sometime and explore my new-found love of shooting rocks and sand.
You can 't do that, Chris: you simply must indulge the entire triumvirate: rocks, sand and at least one tree!
Enjoy.
Rob C
You can 't do that, Chris: you simply must indulge the entire triumvirate: rocks, sand and at least one tree!
Enjoy.
Rob C
Yeah, I hate plants. That's all the Art Director. Whatevs.
Here's what we did...
(http://christopherbarrett.net/forum_images/130603_009_MarkedUp.jpg)
Pfff guys.
The only thing that's missing in those
Desert landscapes is a ww hippy van
Parked next to the tree
With a fire and a guitar.
A bit of Neil Young Or CSN
And a view camera on a wooden tripod.
Kodachrome rescued - more or less - from a shoot in Greece.
Don't think I posted it before.
Rob C
Kodachrome rescued - more or less - from a shoot in Greece.
Don't think I posted it before.
Rob C
Hi CB,
Really beautiful. If I may ask a few questions about your workflow. (This is in regards to your office and NEOCON photography)
Do you do your own postproduction work? Just curious to know how many layers do you typical work with?
I really appreciate how you manage the various color temperatures (strobes vs hot lights vs daylight). Do you balance every to daylight 5500k on the location or correct the colors in post in layers?
Your style really allows the architecture and furnishings to shine. Cool and crisp. I can really tell you are very graceful under pressure!
Thank you for sharing.
regards,
jeffery
Thanks, Jefferey. As for color, I go with whatever the dominant ambient light source is. This space was lit with florescent and tungsten track lights. It all balanced out to about 2700k and a little green. I don't carry a color meter, we just white balance the first capture and go from there.
So, the Dedos were straight tungsten, the Strobe and HMI had Full CTO and I think we had 1/8 or 1/4 Plus Green on everything.
We mix up our sources all the time with no regard to their native color balance and we just gel to match. I carry CTO, CTB and Plus Green in 1/8, 1/4, 1/2, 3/4 and Full. That usually gets me through any situation.
CB
Thanks, Jefferey. As for color, I go with whatever the dominant ambient light source is. This space was lit with florescent and tungsten track lights. It all balanced out to about 2700k and a little green. I don't carry a color meter, we just white balance the first capture and go from there.
It amazes me how much science and good technical skills go into our art form. It's a fun rabbit hole of learning shooting and shooting and learning.
Absolutely right! And yet there are some here who are offended by being asked the square root of 16 when registering. Bizarre.Ah, but asking for the square root of 25 would be a different story! ::)
Jeremy
Ah, but asking for the square root of 25 would be a different story! ::)
Rob, Rob, Rob,
you surprise me. How could you crop the window in this architectural image?
The girl has a bit of an awkward position and the dress is strange. But I like the image anyway.
Best,
Johannes
... I have a problem about the guy: isn't he missing something, what with gravity and all...?
Now you're shooting porcupines? ;-)Rob, It' known that body builder's
I have a problem about the guy: isn't he missing something, what with gravity and all...?
Rob C
Rob, It' known that body builder's
Are tiny, propotionaly tinied to their
Mass muscle increment.
Women don't like those kind of men.
She is right here:)
(http://www.michaelezra.com/Projects/Posts/SAW_B075_LEAF_V1_web700px.jpg)
Fred, you'd be surprised how proportional body builders can be:)!
This is a very difficult type of technical shot: it means calculating the wind speed, the model's drift and the photographer's compensatory shake. Actually, it ends up a bit like sailing.
No, no, no. Please Rob don't listen. Recent is not an exact period of time. For me Rob's images feel very recent.
Best,
Johannes
I like the shot, Rob, but I can't avoid a nagging feeling that you might be stretching the word "Recent" just a tad far.
Jeremy
I like the shot, Rob, but I can't avoid a nagging feeling that you might be stretching the word "Recent" just a tad far.I think a definition of "recent" that might be useful here is "since Rob C was born."
Jeremy
I wish I had a pool like this. :(
Great images Joe but poor timing if you wanted anyone to pay attention. It'll take a couple of days for this predominantly male forum to get over the breasts that preceded your post. ::)
I never have enjoyed getting up before dawn and driving for miles. But then, you duz wot you have to duz.Rob, I hated sunsets pics. Before seeing this.
Kodachrome 64, of course, one of the Nikons and probably the 2.8/35 non-AI'd Nikkor that was my crispest piece of glass at the time. I don't think I'd like to try shots like that with digital. That's one of the good things about digital though: never made me get up early.
"I think a definition of "recent" that might be useful here is "since Rob C was born."
Eric M."
I'll fly with that; thanks for the escape clause!
;-)
Rob C
Rob, I hated sunsets pics. Before seeing this.
(Excellent composition too)
The online version of my recent article in Dwell:
http://www.dwell.com/house-tours/article/sustainable-rammed-earth-home-new-mexico
(http://www.dwell.com/sites/default/files/styles/large/public/earth-moves-front.jpg?itok=_yv0xczF)
Nice work Kirk.+1.
I never have enjoyed getting up before dawn and driving for miles. But then, you duz wot you have to duz.
Kodachrome 64, of course, one of the Nikons and probably the 2.8/35 non-AI'd Nikkor that was my crispest piece of glass at the time. I don't think I'd like to try shots like that with digital. That's one of the good things about digital though: never made me get up early.
"I think a definition of "recent" that might be useful here is "since Rob C was born."
Eric M."
I'll fly with that; thanks for the escape clause!
;-)
Rob C
Love it.
I think a definition of "recent" that might be useful here is "since Rob C was born."
Hi,
Shot this a couple of days ago for a client of mine.
Cheers
Simon
The big person chairs were all over the place; about a third of the chairs were wide. And they were so heavy, I mean all of the chairs, like 45 lb. heavy.
I did use supplemental lighting, but mainly on the stair to make it shine. I had a couple of flood lights in the back of the office as well.
And yes, it is a healthcare office, here is a couple more from the same job.
BTW, I hate being slow and waiting for people to make up their minds. I currently have a 15 project proposal out there; one partner said lets do this, waiting on the approval of the 2nd partner. Come on, just say yes, lets get this moving before fall college sports practice starts up again. (I just cant show up to a college in Sept. and say, "I'm here to photograph the women's locker rooms." :D
Looking at the last image with mediocre vinyl floor & everything else. Congratulations, you made a most mundane office look really great, that's a sign of a great professional photographer.Thanks for the compliment!
Yes, Rob, would be nice. However I've never been that smooth.
That would have been a challenge that the old Playboy of the 60s would have embraced and completed to everyone's satisfacation. Regardless of Mr Jagger.
;-)
Rob C
Yes, Rob, would be nice. However I've never been that smooth.
With Playboy picking up the tab, everything is smooth!
;-)
Rob C
The big person chairs were all over the place; about a third of the chairs were wide. And they were so heavy, I mean all of the chairs, like 45 lb. heavy.
I did use supplemental lighting, but mainly on the stair to make it shine. I had a couple of flood lights in the back of the office as well.
And yes, it is a healthcare office, here is a couple more from the same job.
BTW, I hate being slow and waiting for people to make up their minds. I currently have a 15 project proposal out there; one partner said lets do this, waiting on the approval of the 2nd partner. Come on, just say yes, lets get this moving before fall college sports practice starts up again. (I just cant show up to a college in Sept. and say, "I'm here to photograph the women's locker rooms." :D
Not really.
Wow. Nice work, Simon.
Adrian, Simon, thanks for sharing these fantastic works.
ACH
Hi Joe,That really depends on what your intentions are and what you want to do with your career. If you are fine with being a somewhat successful photographer that has good clients and can support a family, then anywhere should be a good place. And there is nothing wrong with this.
is New York the only place to be as a photographer in the US? It seems a lot of photographers are moving there – even Mark Tucker. Forgive, but I'm curious.
Best,
Johannes
awas in NYC, but since I am not what would be the point. It is frustrating for both of us.
To be the best, you need to be in a hub (or at least get established in one), plain and simple.
Let me just say that I am moving there in steps, both of us. We now have NYC numbers and addresses. The only problem with not living there is not being able to network as good as if we were. I also need to get a portfolio of exterior buildings from NYC, which is hard since I don't live there either.
And also that fact that I will have to leave Philly at 2:15 AM this Sat. to make a 4:15 start time in Manhattan; not looking forward to that. :(
Nice work Chris.
Good luck with that Joe. I hope it works out for you. Boy to each his own. New Mexico is full of successful photographers bailing from living and working in the big three markets-seems they hate the lifestyle usually. When I go to Chicago (to teach photo) I don't even look for work though some oftentimes comes my way. I love Chicago and need my urban fix there periodically but it is a huge PITA to work there. I am always thrilled to get back to the SW where things are more accessible and not so hectic.
The last time I was there I needed to get on the roof of The Palmer House hotel to do a shot down Michigan Ave. of another building. No shit it took 6 weeks to get them to return my phone calls (and my clients calls too).
Nice work Chris.
Good luck with that Joe. I hope it works out for you. Boy to each his own. New Mexico is full of successful photographers bailing from living and working in the big three markets-seems they hate the lifestyle usually. When I go to Chicago (to teach photo) I don't even look for work though some oftentimes comes my way. I love Chicago and need my urban fix there periodically but it is a huge PITA to work there. I am always thrilled to get back to the SW where things are more accessible and not so hectic.
The last time I was there I needed to get on the roof of The Palmer House hotel to do a shot down Michigan Ave. of another building. No shit it took 6 weeks to get them to return my phone calls (and my clients calls too).
Rob, I was living there for the summer. It took half the summer to get a phone call returned. PLUS as I said they would not return my clients calls either (their neighbor). Nor could I just "walk in" and talk to the right person-tried that and got nowhere.
A similar thing happens when trying to get my architectural photography class access to buildings to do some photography. No problem in the SW-huge problem in Chicago.
Yes, But I look like Ansel Adams for pete's sake! :)
Hello,
Shot a couple of weeks ago for Hyundai.
Background image was supplied and the car was shot in my studio using a Nikon D800E attached to a Horseman VCC adaptor and a Rodenstock 105mm Apo Rodagon lens and Dedo lights. My assistant Renee and I took turns sitting in the car playing the driver. Its me in the shot.
Ciao
Simon
Hello,
Shot a couple of weeks ago for Hyundai.
Background image was supplied and the car was shot in my studio using a Nikon D800E attached to a Horseman VCC adaptor and a Rodenstock 105mm Apo Rodagon lens and Dedo lights. My assistant Renee and I took turns sitting in the car playing the driver. Its me in the shot.
Ciao
Simon
Rob, I was living there for the summer. It took half the summer to get a phone call returned. PLUS as I said they would not return my clients calls either (their neighbor). Nor could I just "walk in" and talk to the right person-tried that and got nowhere.
A similar thing happens when trying to get my architectural photography class access to buildings to do some photography. No problem in the SW-huge problem in Chicago.
I am in the process of "relocating" to NYC from Philly and, of course, need to change branding a little. Shot these two Sunday; although I wish I had sun, I think they came out ok. Both shot with the Rodie 55, which I am also trying to use more often too.
Were you offering a significant amount of money to use their property? If not, what is their incentive to be responsive to you? Can't imagine they would have any interest in photos of a neighboring building, unless they happen to own or manage it as well.
Were you offering a significant amount of money to use their property? If not, what is their incentive to be responsive to you?...
The little, obscure thing formerly known as 'common courtesy'? Let alone 'professional courtesy.'
Joe K, I always enjoy your technically perfect interior shots. Do you mind sharing the Metadata > Camera, lens, f-stop, shutter speed & any supplemental lights, if u terribly wouldn't mind, I'd appreciate it. Thnx. :)Hello Sean, thanks for the compliments. Both shots were captured with a P45+ on an Arca Swiss using a SK 35mm lens with the CF. I was shooting at f/11 for both. The first shot that I posted was a little hairy and complicated, so get ready.
Did I say how much I love working with Phase backs!
Last shot of the day, Rodie 55mm at f/11. Single capture using 5 tungsten lights. Only opened it in PS to remove an EXIT sign.
:D
Hotel California redux?
;-)
Rob C
... When I work with strobes, I balance the shot as much as I can at ISO 200. Then throw on a device that allows me to control manually the length of the exposure, sync the pocket wizards to the Copal shutter and drop the ISO to 50. This allows me to do multiple exposures. I do not remember the shutter speed, but this shot was 6 multiple exposures (I think, it could have been 5) at ISO 50.
I can explain the second one later; I have a shoot to go to.
Hello,
This is a personal shot I did working with a great retoucher and all round nice guy called Dan Coroian-Vlad.
http://www.retouching.co.nz/
https://www.facebook.com/pages/D2-creative-retouching/166300943405238
The car was shot with a Nikon D800E, Nikon 70-200mm F2.8G @F16.0.
Lighting was Dedos my new home made strip light and some light painting.
I have another shot of the Aston Martin DBS coming soon.
Cheers
Simon
Hello,
This is a personal shot I did working with a great retoucher and all round nice guy called Dan Coroian-Vlad.
http://www.retouching.co.nz/
https://www.facebook.com/pages/D2-creative-retouching/166300943405238
The car was shot with a Nikon D800E, Nikon 70-200mm F2.8G @F16.0.
Lighting was Dedos my new home made strip light and some light painting.
I have another shot of the Aston Martin DBS coming soon.
Cheers
Simon
From a collaboration with a local artist.
(http://martinrangerimages.com/blog/wp-content/uploads/One-Roll-Project-1-3_b.jpg)
First time posting here, I'm kind of nervous...
Awesome. Great feel.
Thank you. Shot on film during an art intervention.
I like the idea of an Art Intervention. Do tell!
Hello,
This is the second shot I did of the Aston Martin DBS.
The brief I gave to Dan the retoucher was I wanted a Tim Burton, Bat Man, Sleepy Hollow look to the image.
I think he nailed it perfectly.
Stats:
Nikon D800E camera
Nikon 45mm F2.8 PC-E lens @F16.0
Dedo Lights
Cheers
Simon
Absolutely stunning shot.
P.S. Hold on, no driver? I hate this new world.
Hello,No. You should have cranked the window down and poked your head outside so we could really see you. Perhaps with tongue hanging out like a dog riding in a car... ;D
The driver is actually me so the least of me the better.
Cheers
Simon
The driver is actually me...
Very nice Chris.
I noticed that you leave the blue color cast from the sun in most of your images. Do you find that some clients would have a problem with this?
Nope, never. As I sit here in my office looking at the sheers over my window... they look rather blue. I just feel this is the natural reality and should be maintained. I believe that neutralizing the cool exterior makes a space feel rather sterile. Kirk and I have discussed this issue here before. Now on your museum (?) images above, in that first shot, I would totally neutralize the blue on the right side of frame on the carpet and wall. I don't understand where that color is coming from.It is a new museum. The color on the right is from a gel that the lighting designer placed on the lights. He put blue gels on a handful of the lights through out the space; I don't know why, but he did. Also, the color temp of the screens are a bit blue as well. I was thinking about removing that blue, but since it was intentional in the design, I decided not to. Out of the two design firms involved, the one who would have made that call is in London and was not at the shoot. So, I decided just to leave the gel in place.
This all makes me curious, though, have you ever shot interiors on film?
CB
As ever, très jolie!
So's this:
http://youtu.be/9DkcQ09h2Vo
Two of my favorite.
Same talent, left during makeup, right after.
Left, a trillion iso, right much less.
Both p30+, contax
(http://www.russellrutherfordgroup.com/2_p30.jpg)
BC
Rob,
This place plays the music you'd like.
(http://russellrutherfordgroup.com/lee_harveys.jpg)
it's called Lee Harvey's in Dallas. Yea I know, it's not politically correct, but hey, the burgers are good, the music is rockin', the girls are pretty.
Problem is from where you live it would be kind of a long walk home.
BC
Regarding your bar – isn’t that a bit of a dangerous name in Texas? Or is there a swathe of political intrigue of which non-Texans have no idea? Don’t answer that - someone may come to visit you wearing twin Colts slung low.
The name of this bar sounds politically incorrect, but for a long, long time Dallas lived under the stigma of that awful day and I think just grew tired of it
1. I've never heard a Dallasite mention it, but the national and international news mentions that time as if it were yesterday.
Once again, perception and reality.
(http://www.russellrutherfordgroup.com/lee_h_juke_box.jpg)
2. Love this shot, love this model. Kathryn is not anorexic, or afraid to eat a meal, she's just a good hard working damn pretty woman.
Not Retouched.
IMO
BC
Two of my favorite.
Same talent, left during makeup, right after.
Left, a trillion iso, right much less.
Both p30+, contax
(http://www.russellrutherfordgroup.com/2_p30.jpg)
BC
Thanks guys I'm happy to share this. It is a difficult topic to talk about and I am pleased it resonates with fellow photographers. This is one facet of a very diverse career which includes commercial work and teaching photo. This diversity has helped a lot in the recession, but is very demanding at times when all facets are rolling like now. I'm 63 and the busiest I have been in 40 years (though not the most profitable!). I need to clone myself to do justice to it all.
Kirk,
Just watched the video - enjoyed it a lot, with one caveat: the interviewer was very difficult for me to understand. I know my hearing isn't that hot anymore; I got everything you were saying but only a tiny fraction of his input, which made me do a lot of guessing... not always my best or most accurate quality.
That idea about the sense of place isn't limited to ancient sites; I've experienced very negative vibes from relatively modern houses too, and neither does it always hit different people in the same way.
There's a little beach zone in Cyprus called Aphrodite's Birthplace. We went there to shoot part of a calendar, and before we drove down to the shale, my wife became very agitated and demanded to be let out of the car. She did walk down to the place we were going to shoot in - I'd been there before on other trips without her - and it was strange: I always used to alternate two Nikons just in case of failures, and despite doing that, I still managed to get myself two rolls of Kodachrome that were blank. The rest of the job, shot on the same cameras later on, was perfectly normal. Our model was sitting in the shale, just a couple of feet out, and she had a helluva time getting back out of it - it simply gave way under her every step. Yet, I felt no threat at all, and my wife had never been one of those hysterical sorts of people, before or after.
Very good friends of ours bought a lovely house in the valley that goes from the Pollensa road to Cala San Vicente here on Mallorca; before they moved in, the buyer's wife, my wife and I had a look. Neither of us were happy. It turned out that the buyer's daughter had also felt unhappy in it. Eventually, we discovered that the previous owners returned to Scotland where the wife took herself out; neither of the couple who bought - our friends - lived very long after they moved in. Some places are just wrong. So yes, apart from those two incidents, there are places on a much larger scale that have a presence for me, but I generally find them to be malevolent: mountains; some forests in France. The only place that really thrilled us was the present property I still have. We saw it originally as a shell, but it was built with a larger verandah than the rest of the properties in the development and the developer wanted more for it than we were happy to spend. We settled for another property next door. We returned to Scotland, and then he rang to offer us the original one we’d desired so much at the same cost as the cheaper one we had accepted but now couldn’t have: turned out he’d wrongly thought the buyers for it had cancelled when he’d offered it to us…
We spent the best years of our lives together here. Now, without her, it has lost everything, pretty much, and with the person has gone the attraction of the bricks and mortar. For some odd reason, I've just smelled a whiff of oranges. I don't have any. Time for bed, methinks.
Oh - your pony is thicker than mine. Damn!
;-)
Rob C
Kirk, at least you still have hair...
I still have some hair....a pale reflection of what I had :)
Hello,
New image for Honda.
Nikon D800E, Nikon 85mm PC-E lens and Dedo lights
Cheers
Simon
Hello,This is really cool!
New image for Honda.
Nikon D800E, Nikon 85mm PC-E lens and Dedo lights
Cheers
Simon
... yes, it's been slightly blurred on purpose and grained, but for some reason the whole image, including the copy (mainly on the right), is now extra-blurred too, where it isn't on the file I transmitted to LuLa.
;-(
That photo is pin-sharp, as I'm sure everyone else will confirm. Maybe you need to get your eyes tested ;)
This still looks like mush to me - hope the grain is crisp for you. It's fine (for me) seen outwith the LuLa translation.
When I click the image, my browser opens a small window with a bigger version of the image. The grain does not look sharp in that window, because it is too small for the image. The browser uses its internal scaling function to fit the image to the window.
When I move my mouse pointer in that small window, it changes to a magnifier. When I click with this magnifier, it tells my browser not to scale the picture and I get to see the picture in its original resolution. The picture looks noticeably sharper.
Your browser may use a different symbol than the magnifier. Internet Explorer, for example, displays a symbol at the lower right side of the picture.
Antonio, Real tough but successful results. Like the two.
Joe, nice stuff... a quick pointer from my toolbox. If you can turn off those overhead cove lights, then you can grab an exposure of the windows with no reflection. It's usually a very quick composite in post and makes things feel a bit nicer.Chris, thanks and nice tip; I have done that before. For this project, the cove lights in the lobby were on the emergency breaker, however maybe I should have done that with the board room image.
Sean, thanks! That's out of the IQ 260 which recently replaced my P65+.
CB
the car will look dated in much less time as car styles change more rapidly.
Nice work Antonio. Were you working with a stylist and art director? I require such for work like this even if it is low budget editorial as I have enough to do working out the lighting.
GLK 350? I kinda want one of those, but what I really need is a cargo van. Ugh.
Yeah, the last house we shot, we were actually able to get permits to post no parking all in front for a week.
I'm interested to know if you agree "in general" with my point about cars?
Yes when I shot the new history museum in Santa Fe a couple of years back we got all parking along the street in front of the museum blocked off. Then when we were ready to shoot the assistants would pull all the barricades out of the way and chase cars away trying to park. I then had to Photoshop out all the parking meters and their shadows. All in all a PITA but it sure made for some clean exterior shots.Interesting. A lot of firms I have been meeting with and work with in NYC and Center City Philly like the congested look; want to keep it looking natural.
A lot of firms I have been meeting with and work with in NYC and Center City Philly like the congested look; want to keep it looking natural.
Joe,
My theory is get rid of everything possible that distracts from the architecture. Its worked for me for 35 years. FWIW that museum I referred to above in Santa Fe was for SaylorGregg Architects in Philly. You can see a couple of the shots here-one of the street shots is included: http://www.saylorgregg.com/projects/NMHM.htm (http://www.saylorgregg.com/projects/NMHM.htm). Cars, meters etc. would draw your eye and your interest away from the architecture.
(http://www.saylorgregg.com/slider-images/NMHM/NMHM2.GIF)
Hi Antonio,
This series of images are lovely. There has definitely been a lot of preparation in making these images and the lighting is beautifully.
Cheers
Simon
Yeah, the last house we shot, we were actually able to get permits to post no parking all in front for a week.
Saylor Gregg, great firm. I have been trying to get in front of them for a while. However, for local shoots they are very loyal to Tom Crane, a local Philly photography legend (been in the biz for over 40 years and started off with Ezra Stoller).Well that's a great question. In the "old" days there were a handful of good architectural photographers so the one that were top tier got to travel extensively. I was fortunate to get my share of that. But frankly for me personally I prefer working closer to home-somewhere I can drive to. I had so many terrible experiences with airlines that I soured on traveling by air for commercial shoots. Toooooo much stress. I love to travel! But not for work unless I can drive. I love to drive and even at 63 don't hesitate to jump in the truck and drive to a shoot 12-16 hours away.
Funny thing is that I really want to travel for projects, like Tim Griffith, and see the world. But looking at those images you took and knowing that a native South-Westerner captured them, it makes me wonder is someone not native to the Southwest could capture the essence as well as you did. Kind of makes it a hard sell to convince clients to send you to exotic locations. I wonder, do I see city architecture differently because I live in Center City Philadelphia and am I better at photographing it?
Anyway, great job on Sante Fe, Kirk.
Nikon D800E, Nikon 24mm PC-E lens and 12,000 watts of Bowens flash at full power. I love the cracking sound of Bowens generators going off at full power it sounds like a bull wipe.
Lovely - and the steering wheel's on the correct side! Forgive my ignorance, but what is a bull wipe?
Jeremy
Lovely - and the steering wheel's on the correct side! Forgive my ignorance, but what is a bull wipe?
Jeremy
A veterinary version of tissue à la Kleenex.
It was originally developed to deal with the results of cat flu.
Rob C
Yours is a lot funnier than what I was working on. Made my morning!
Twin Arrows, AZ 2013. This image is from my long running project on Route 66. It is currently showing in Santa Fe at the Marion Center for Photographic Arts "In/Visible Borders" exhibit and shortly will also be in the Albuquerque Museums "Miniatures" show where it will be for sale also.
Whoops spelling mistake.
http://en.wikipedia.org/wiki/Bullwhip
Thanks Antonio. I would have shot this with film if I had had it with me, but such was not the case. As it were it is a 3x stitch with a Canon 45 T/S.
Of course, the micro contrast and atmospheric mood you would get with film is different, mostly in landscapes.For b&w I actually don't find digital any easier. Convenient yes on the capture side, but more work in post to get the tones I want.
But still my preferences for the ease of digital.
Scott, Its a great lens when you are doing 3x stitch for an 11x14 print ;).........need I say more?
I guess I was asking more in terms of interiors...I know you wouldn't have the lens if you didn't think it worked, but are you seeing any of the issues that I mentioned? I think the Canon 24 is really the gold standard for me and I tend to hold other lenses to that, which is kind of unrealistic, I suppose.
For b&w I actually don't find digital any easier. Convenient yes on the capture side, but more work in post to get the tones I want.
Kirk, do you still print negatives conventionally, or do you print only digitally now?
Harold
For b&w I actually don't find digital any easier. Convenient yes on the capture side, but more work in post to get the tones I want.
(http://russellrutherfordgroup.com/n_sr_.jpg)
Olympic Gold Medalist Sanya Richards for motion and ad series.
BC
bcooter: Nice -- love the flare, the warm/reddish tones, the motion that the lines in the track lend to the shot.
Assistant holding large Sun-Bounce?
Same deal here, regarding less manicured shots -- My rep wants me to put a new lifestyle section on my website with looser, less-planned, less-perfected shots, since everything these days is following that Instagram style. Just not sure if it's a good idea to follow trends. By the time I've shot and finished new work, and made that gallery section a known presence in the marketplace, I might look like just another photographer shooting that kind of imagery. A while back, people wanted the Jim Fiscus look, then the Jill Greenberg look, then the Erik Almas look ... et cetera. The danger with chasing every trend is, you're always a bit behind the curve, and and you're never doing what's in your heart. (cooter -- I'm not implying you're doing this; I'm just voicing my thoughts I've had on the matter.)
ethan
Naw I get it. Every agent wants you to broaden your repretioire, but hey they sell, they get use to what they see and kind of forget that not everybody they show is as bored with it as they are and I can elaborate on this, but I'd get in trouble.
Anyway, I did a video that was shot with stills and a really "real" look a while back, it still pulls work and well . . . a gigs a gig man.
video (http://www.russellrutherford.com/magic/)
Not to go of topic, but I really resist being put in a category like a brand of soap. I dunno, I find most of it is just silly.
When we shot lingerie/inner-wear (what a strange name) we shot for the 4 largest companies in the world and two we're completely positive we only shot men, for the other two it was women.
Silly, but you just roll with it.
Personally if I just had to shoot one thing, either motion or still I'd go crazy. It just seems boring and after a while you just can't get out of it.
After all still photography is just subject, light and background. Always is and shooting "real" (what the heck is real?) or manufactured it's all kind of the same.
Most people will disagree, but hey, that doesn't matter. It matters if you work.
The only thing I don't want to do is subjects that don't breath. I just fall asleep.
IMO
BC
A Mamiya ZD frame from 2011, just developed
(http://timelessme.com/temp/Postings/NU_JDY_C189_web900px.jpg)
Recent personal / portfolio series. The first one is coming out in Workbook in the next week or two. It's a single capture, H3DII-39, HC 50mm lens.
The shoot was a ton of fun, but it's also hell shooting that close to the tide. Sand gets in everything. The water occasionally comes much higher than you expect, potentially drenching gear. Whether the tide is rising or receding, you're constantly moving the talent and lights with it.
Naw. Dallas, regardless of perception would much rather be picked up and moved to the east cost. Dallas is corporate money, Bentleys and Armani, the 25 year olds eat fusion and are foodies, well most of them.
There's still some Texas left in the area, if you go to Ft. Worth, but most of that is for tourists that still think we all ride horse and shoot on sight.
The name of this bar sounds politically incorrect, but for a long, long time Dallas lived under the stigma of that awful day and I think just grew tired of it
I've never heard a Dallasite mention it, but the national and international news mentions that time as if it were yesterday.
Anyway, the patrons of this bar just wanna have fun, sit out in the gravel lot, listen to music, get a little loaded, go home with a boy/girl and not worry about life.
To them the name Lee Harvey has about as much impact as saying John Wilkes Booth. Both tragic, both way in the past.
But no you won't get shot with a gun. There is more guns per capita in LA than Dallas, though perception and reality are way different animals.
Actually the most liberal county in American is the most caucasian centric, Marin County, North of San Francisco. Dallas proper has more percentage of ethnic's groups than most American Cities, so . . .
Once again, perception and reality.
(http://www.russellrutherfordgroup.com/lee_h_juke_box.jpg)
Love this shot, love this model. Kathryn is not anorexic, or afraid to eat a meal, she's just a good hard working damn pretty woman.
Not Retouched.
IMO
BC
Two of my favorite.
Same talent, left during makeup, right after.
Left, a trillion iso, right much less.
Both p30+, contax
(http://www.russellrutherfordgroup.com/2_p30.jpg)
BC
Hello,
This is a personal shot I did working with a great retoucher and all round nice guy Dan Coroian-Vlad.
http://www.retouching.co.nz/
https://www.facebook.com/pages/D2-creative-retouching/166300943405238
The car was shot with a Nikon D800E, Nikon 70-200mm F2.8G @F16.0.
Lighting was Dedos my new home made strip light and some light painting.
I have another shot of the Aston Martin DBS coming soon.
Cheers
Simon
Skylabs, Heidelberg, Germany:
(http://www.adrianschulz.de/forum/Slablux_02.jpg)
(http://www.adrianschulz.de/forum/Slablux_03.jpg)
(http://www.adrianschulz.de/forum/Slablux_05.jpg)
(http://www.adrianschulz.de/forum/Slablux_08.jpg)
(http://www.adrianschulz.de/forum/Slablux_09.jpg)
Beautiful work.
She has a wonderful symmetrical body. I love the 3 ribs! One of the best studies in gray tones I've seen.
Why did it take so long to bring to light?
Thanks. Simply not enough time to process images. I still have many from even 2002.
A lot of retouching time is spent on the background behind the model. Paper is never as smooth as I like it to be.
Even a fresh roll of paper quickly develops some bumps on the surface. I suppose due to humidity, although it is very dry in my studio.
I was thinking of trying vinul, not sure if it is as matte as the paper, but even then it would get quickly stretched under the model's weight... well unless she is levitating:)
Thanks. Simply not enough time to process images. I still have many from even 2002.Now I understand why your models are usually levitating! ;D
A lot of retouching time is spent on the background behind the model. Paper is never as smooth as I like it to be.
Even a fresh roll of paper quickly develops some bumps on the surface. I suppose due to humidity, although it is very dry in my studio.
I was thinking of trying vinul, not sure if it is as matte as the paper, but even then it would get quickly stretched under the model's weight... well unless she is levitating:)
Hmm, let me think, Cooter’s earthy, colourful women or clinical, grey mannequins? ...Not to be harsh, but I just don't get it, and I'm not trying to be mean-spirited.
Have you ever tried to photograph a model in a minimalist setting? If you study Ezra's work, it's clear to see that he has the eye of a sculptor along with total mastery of the aesthetic and the technical aspects of making a timeless image. Perhaps the difference between the "grey mannequins" and "colorful women" is akin to the difference between great literature and pulp fiction. Ezra has a consistent vision and his execution is exquisite. I've been looking at his nude studies for years. More often than not they are masterpieces that I think are as compelling as Rodin's sculptures. I like the fact that he uses an obsolete entry-level Mamiya/22MP camera.Exactly! Well said, Bob.
Thanks. Simply not enough time to process images. I still have many from even 2002.
A lot of retouching time is spent on the background behind the model. Paper is never as smooth as I like it to be.
Even a fresh roll of paper quickly develops some bumps on the surface. I suppose due to humidity, although it is very dry in my studio.
I was thinking of trying vinul, not sure if it is as matte as the paper, but even then it would get quickly stretched under the model's weight... well unless she is levitating:)
a chemex coffee brewer for a mag cover all about coffee
I'm not too much for architecture. But you put out some nice clean work...beautiful!
No one's mentioned it yet, so I will -- this shot is gorgeously done. Nice composition, lighting and retouching. Great work.
In re Russel and Rutherford's picture: Not to be a fuddy duddy, Michael Ezra's photos truly enter the realm of fine art. To me, this picture of the sultry woman looks well ... slutty. I've seen this type of picture ten million times in one form or another. The execution is fine. ... Not to be harsh, but I just don't get it, and I'm not trying to be mean-spirited.
Gosh!
Having spent a great deal of time during my formative years as an art student viewing the classical Greek statuary I still see it as a celebration of life and the personification of human sexuality and form.
Conversely…
Thankfully it is the differences between us that make for an interesting life.
Thank you :)
I've got some more:
(http://www.adrianschulz.de/forum/Skyl_01gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_05gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_06gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_10gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_11gr.jpg)
Hi Michael,
Do you store your paper on the wall or off? I tend to get 'dimples' if I keep my background paper up on the wall. I think it sags slightly in the middle and when it unrolls the dimples appear. Rolls which I store off the wall, rolled up in their boxes standing vertically don't seem to have this problem.
Cheers
Jeremy
Thank you :)
I've got some more:
(http://www.adrianschulz.de/forum/Skyl_01gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_05gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_06gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_10gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_11gr.jpg)
I agree about those architectural shots, very nice, i like them, i wish to see some buildings that interesting to shoot.
a chemex coffee brewer for a mag cover all about coffeeI love the colors:)
Greek sculpture has fascinated artists, historians, and regular folks for millinia. I think Ezra's work certainly exhibits a classical aesthetic. But, I've yet to encounter a Greek sculpture able to capture the female form as Ezra does. His models are real. The synergy between all of the elements--artist, model, space, and moment in time fit together in a manner that is truly sublime,rare. My guess is that he has spent years cultivating his skill. And his images are mysterious. His models have obviously been on a journey exploring the limits of body and mind. There is a certain contemplative/mediative aspect of his work that satisfies.
The picture of the girl in the bar is not a bad picture, nor is it a great one. It is not mysterious or subtle. It's a one-liner. And it's common. I see a lot of work like that in portfolios from enthusiast photographers that are workshop junkies. Michael's work is not like that. I cannot even imagine how beautiful one of his images would look as an artisan print. I see silver, not grey.
Greek sculpture has fascinated artists, historians, and regular folks for millenia. I think Ezra's work certainly exhibits a classical aesthetic. But, I've yet to encounter a Greek sculpture able to capture the female form as Ezra does. His models are real. The synergy between all of the elements--artist, model, space, and moment in time fit together in a manner that is truly sublime,rare. My guess is that he has spent years cultivating his skill. And his images are mysterious. His models have obviously been on a journey exploring the limits of body and mind. There is a certain contemplative/meditative aspect of his work that satisfies.
<snip>I cannot even imagine how beautiful one of his images would look as an artisan print. I see silver, not grey.
Joe, I would have waited longer till when the interior spaces started to glow (not just the light sources).
Joe, I would have waited longer till when the interior spaces started to glow (not just the light sources).
Nice one, Bob, but I still prefer Michael Ezra's levitating nudes against a grey seamless background. ;)
Thank you :)
I've got some more:
(http://www.adrianschulz.de/forum/Skyl_01gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_05gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_06gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_10gr.jpg)
(http://www.adrianschulz.de/forum/Skyl_11gr.jpg)
I absolutely love these! How much post processing do you do? Would you mind sharing a before and after (publicly or privately) if not, I totally understand!
Hello,
This shot was partly lit using my new Ice Light.
Cheers
Simon
Hi Dan,
Here in New Zealand the steering wheel is on the left.
Cheers
Simon
Hello,
This shot was partly lit using my new Ice Light.
Cheers
Simon
Nice one, Bob, but I still prefer Michael Ezra's levitating nudes against a grey seamless background. ;)
Hi Michael,
I prefer the first one it is more symmetrical.
Cheers
Simon
If you had been given a bigger budget to play with, what would you have done differently ?
Or to ask the same sort of question from your client's perspective: what more would he have got from you, should he have agreed to pay you more ?
Hi Ken,Simon, Ken,
I totally agree with your comment Ken
“Also, if I h=give this client the service of a more involved production for free how would I justify charging for it on another shoot? They will absolutely say, and rightfully so, "last time you brought lights, grip equipment and took time to light the scene and you only charged me x amount.."
You start giving them the full service for the cost of a get in and out quick shoot the you are bugged.
Cheers
Simon
Word.
I don't really know exactly what I'm getting at here, except to say... that Cooter's example struck a nerve. If you want to make the best work possible, if you want to be in this for the long run, make money and be respected, then don't dick around.
Now here's a picture of an elevator.
(http://christopherbarrett.net/forum_images/131005_3116.jpg)
Does he or does he just need to pay you enough for 'the use of your images' to cover all of this ?
Because there is a big difference between asking someone to pay for 'the use of your work' and asking them to pay you 'to do the work' for them.
Anyway, it's sounds like you don't have time for any of this, so I'll leave it at that.
Cheers
Ashley.
.. would have said: "Why are you asking ?" - and then listened to what he had to say.
Because it's sounds to me, like he may have had something interesting to say to you here - in regards to how you could actually charged them more.
:-X
Photographer's business models can be such a source of aggravation for clients as well as other photographers. I have no desire to police the usage of my images, I want to spend my time making more of them.
I think in these regards I'm fortunate to be working (for the most part) in the niche of architecture. Residual usage rights drive architects nuts. My fee model is based upon a day rate. Within that rate I included a license for unlimited usage of the images. That dayrate is probably higher than a lot of my competition, but my clients seem to be happy to pay it and not have to worry about when or where they use the images.
Also, my clients usually have no problem with stock sales. In fact, most of my stock sales are referred by the original client.
So, I make a lot of images and I make a nice living. I really don't spend any of my time calculating and chasing usage fees. My clients are happy. Life is simple and good. This business model may not work for everyone, it may even piss some photographers off but it's been pretty sound for me over the last 20 years.
CB
Photographer's business models can be such a source of aggravation for clients as well as other photographers. I have no desire to police the usage of my images, I want to spend my time making more of them.
I think in these regards I'm fortunate to be working (for the most part) in the niche of architecture. Residual usage rights drive architects nuts. My fee model is based upon a day rate. Within that rate I included a license for unlimited usage of the images. That dayrate is probably higher than a lot of my competition, but my clients seem to be happy to pay it and not have to worry about when or where they use the images.
Also, my clients usually have no problem with stock sales. In fact, most of my stock sales are referred by the original client.
So, I make a lot of images and I make a nice living. I really don't spend any of my time calculating and chasing usage fees. My clients are happy. Life is simple and good. This business model may not work for everyone, it may even piss some photographers off but it's been pretty sound for me over the last 20 years.
CB
Interesting. My clients all know about how many shots we can get in a day. For interiors it's usually 4, 5 if we have great ambient. I've had people come at me asking for much more (as they're accustomed to photographers not taking much time with the shots). I just explain my process and they usually cut the shot list in half.
I do have a per shot cost that I call "Capture / Processing / Retouching" which also dissuades the "All you can eat" mindset.
Interesting. My clients all know about how many shots we can get in a day. For interiors it's usually 4, 5 if we have great ambient. I've had people come at me asking for much more (as they're accustomed to photographers not taking much time with the shots). I just explain my process and they usually cut the shot list in half.
I do have a per shot cost that I call "Capture / Processing / Retouching" which also dissuades the "All you can eat" mindset.
A couple of new images from travels in 2006 to Colorado
(http://www.michaelezra.com/Projects/Posts/CO_2006_D8_549-550_V3_BW_web1.jpg)
(http://www.michaelezra.com/Projects/Posts/CO_2006_D8_530-552_V2_BW_web1.jpg)
LIKE IT.!Me too - I believe it'd be awesome in some exaggerated B/W conversion too.
Kirk, is that Sun in the right place? Something in the shadows bugs me. Whatever, a very effective, simple and strong image.
Rob C
From the lowness of the sun, you'd expect the shadows to be longer, but no... if you draw a line from the sun to the shadow, they're exactly right, no Hocus Pocus going on, which I wouldn't expect from Kurt anyway...Optical illusion
Awesome shot Mr. G.
Shadow-peepers! ;D
Thanks all. That was a tough shoot....
...Ironically this is the only place I have posted it where anyone caught anything. You guys are the best. Tough audience. :)
a couple of coffee machine bling images from a recent shoot
Ironically this is the only place I have posted it where anyone caught anything. You guys are the best. Tough audience. :)
I'm going to take that personally.
Made my evening, Kirk!
;-)
Rob C
I enjoy every one of your images and this got me wondering... isn't the left panel getting too much attention? just asking to get your point of view, it's milles away from anything I've done on product.
Thanks ;)
Nice work as always Mr Smith, nice to see a bit of craft :)
The lever group (made by CMA)is the same as a lot of other more expensive machines. The 1 group machine is £1950 and the 2 group £4500
those angles appease my visual sensibilities.Indeed! Interesting angles!
We cut them because we could and it wasn't that expensive.With a little glue and duct tape you could make that saw blade almost like new. ;D
With a little glue and duct tape you could make that saw blade almost like new. ;D
I was invited to make a posting about a large format film image of mine for the Eastern Sierra Center for Photography blog:blog.http://esc4p.org/2013/11/tales-from-the-lens-kirk-gittings/ (http://esc4p.org/2013/11/tales-from-the-lens-kirk-gittings/)
I posted them here with the wax also to gauge the reaction, i.e., to see just how much people are bothered by it. I guess they are.
Hello,
My latest car creation.
Cheers
Simon
wicked as always! I wish we had those cars here in Canada. Nobody appreciates a nice wagon up here!
More coffee machines i'm afraid ;D though i have been out on location this week shooting non-caffeinated things.
same machine but 2 different looks. top one is for a feature, bottom one a test shot for me.
Hello,
My latest car creation.
Cheers
Simon
Am I seeing well? A family break Jag like the Volvos? Are they kidding me?
Simon, the work is gorgeous, as always. But I find the shade contours a Little too harsh. They almost look as a painted floor.
But this graphic approach is clear so it's more a question of choice.
I dig Volvos. The new Jags don't look English, is the problem. They look like something that would come out of Lexis' California design center.
I really want Alfa to start selling cars in teh US again.
Yeah. G.B has sold its beautifull car industry all over the world.
I had many Alfas. Very fun to drive BUT: always electrical issues.
True Rob.
Make that just Italian, and I have to agree: Alfas and Fiats were pretty unfriendly if you drove in the wet, the cold, the damp or left them outside for any length of time. Which I had to do: we took away the old garage to get enough space to build a studio alongside the house. When we came to Spain, anyone with a Panda had to beg lifts in the mornings.
Rob C
So am I.
I'm put in mind of the photorealist painters.
True Rob.
Now, I'd like you to explain me something I never ended to understand about the british car industry:
In G.B it rains all the time init? Why then british cars are so bad in terms of oxydation?
I would have expected GB to be the best in oxyd protection, and they are the worst.
here's a picture of someone's cubicle. I'm fond of our lighting.
-CB
Just like I know of no living portrait photographer that hasn't put someone in a corner of two set walls sitting on a stool because Irving did it why not?
BC
Ha ha!
I think it's ok that someone does it, though it's kind of lame considering it was Irving's calling card, but I find it really strange that someone does it and thinks they're original and sticks their chest out.
I'd probably respect Penn copies more if someone stomped through the Amazon and shot the natives in a portable studio. At least I'd give them an A for effort, but two corner walls?
I think I've seen that copied twenty two billion times.
It's the same with Hopper, who no photographer I know has copied well. They find that corner diner on a wet 4am Sunday morning and shoot and shoot and think they invented it, or shoot straight angles and think that really is "their" style.
It's pretty funny.
BC
A friend did the corner set wall Penn thing recently but he had the subject trying to break out of it, climbing the wall, smashed into it.
He said he was running out of ideas and then went to the corner, feeling shitty about the Penn-esque nature of it and he wanted to break it all down, so he directed teh subject to do just that. I'll find a link and post it up. It actually works.
Now the Hopper thing, well, its a vibe and people take it literally and try to find a diner with that mood, which is a scene that hasn't existed in Manhattan for years. They even try to find THE diner, which was a composit of places and moods, and light it up with strobes and it looks like shit, or rather, it looks cheap.
When photographers look at work from the past, they tend to forget that a lot of the "style" is just the period of the time. Robert Kennedy in Manhattan with a white shirt, small collar and skinny tie and everyone around him is in suits and white shirts with khaki pants makes for an amazing photography regardless of who shoots it with any camera.
Today if you step out on broadway, everybody is wearing sweats with Jet's logos and orange knee socks which is fine, but doesn't make for a cohesive simple, background.
Alsoi people in America have grown really wide, which isn't that pretty.
We were shooting motion in the London Tube and had a simple shot of the talent walking onto a escalator and riding it down, with me tracking in front. Talent was great, lighting was good given the budget, but wrangling civilians was impossible, due to permits and it's almost impossible to find a cut where someone doesn't have a sweatshirt on that says I heart something, but even if you have total control sometimes crazy s--t happens.
The best story I have is when I started this biz I was hired to shoot the advertising and a book for a movie. It was a 4 month project. Getting to the end the production was way over budget and time and we needed a sunny day on a restaurant patio and of course it was a trillion degrees below zero.
Everything was going wrong and it was a big scene where the murder scene happens.
We'd shoot, get close, someone would knock over a light, the director would yell keep rolling and of course we'd run out of film.
This went on and on for hours until at one moment, one very special moment, everything was going perfect. You could feel it and I just knew in thirty minutes I'd be out of there doing something a lot more fun.
The moment the lead actor pulls out the prop gun, points it and is ready to shoot, one of the extras, right in the left center of the camera view pulls out a point and shoot with a flash and fires it.
The director (who was brilliant but insane) goes postal. He leaps over the table, slides across it, grabs the extra by the throat, tumbles to the floor and is choking him to death. Seriously.
Being camera and being at the end of what felt like a tour of occupied Germany, we really had no respect for anything, so when security tried to jump in to stop the real murder, we kept yelling leave them alone, we've bet serious money on this.
BC
A friend did the corner set wall Penn thing recently but he had the subject trying to break out of it, climbing the wall, smashed into it.
He said he was running out of ideas and then went to the corner, feeling shitty about the Penn-esque nature of it and he wanted to break it all down, so he directed teh subject to do just that. I'll find a link and post it up. It actually works.
Now the Hopper thing, well, its a vibe and people take it literally and try to find a diner with that mood, which is a scene that hasn't existed in Manhattan for years. They even try to find THE diner, which was a composit of places and moods, and light it up with strobes and it looks like shit, or rather, it looks cheap.
Hopper depresses me.
But isn't he wanting to? That's what happens when there's no tit 'n' ass in your life! I used to be a very happy photographer.
Rob C
Well, you know he answer to that.
Break open the wallet Rob.
BC
T
That's the problem with small markets. The don't know s__t or how to spin it professionally.
When we bought the Dallas studio, we did a lot of work there (not local as I don't do much local anywhere) but anyway made use of it. Most of my crew came in from NY a few from LA and a few local pick ups.
The locals wanted more money than the NY crews, (of course), so one night one of the third assistants we called Mr. cheese (you can guess why) wouldn't leave so we invited him to dinner.
He ate the most expensive entree on the menu (though I really didn't care) parked in valet and didn't have any cash(at this point I'm starting to care) and then a week later I get an invoice where he bills me overtime for the dinner.
When I got the invoice I laughed and had to give him a call. I said you know, I've seem so stupid stuff in my life and I'm not cheap, but what possessed you to bill me for eating dinner,especially charing overtime?
His reply "I thought that's the way you new york guys work".
My reply, you need to intern for Seleger, Klinko or T-bone, then get back to me.
BC
It wouldn't work BC; even when I did stock I couldn't make it work if I shot for myself - there simply had to be a client to provide both the money and the motivation. On the very rare occasion when I paid for the shoot myself, I was worried about everything; when it was on a client, I mostly enjoyed it and brought back what he wanted and then I used the extras (with permission) for stock.
I'm not sure why - maybe a deep insecurity about money, maybe just that I needed the affirmation that an assignment brought with it.
The exception to that rule was in my early photographic life, when I had a muse/model who was as into and informed about fashion photography and photographers of the day as was I. We often went off together for a day and just shot whatever she picked up from the boutiques, which being from a very notable Glasgow family, she was easily able to do. There was no money involved in those shoots, just the happiness of a mutual learning process and no sex, honestly, just an slight undercurrent that kept it all alive and fresh. I suppose, in a way, she was my local Penelope Tree or Marisa Berenson to my David Bailey, because at the time, even he needed the money and the ladies didn't.
I suppose muses are thin on the ground today. As are David Baileys.
A shot from the period, below, and with Twiggy eyelashes...
Rob C
Living where you do would be seen as a gift by some photographers, I know a photographer who spends his precious time off wandering around places similar to where you live shooting portraits of everyday people.
They will probably want to keep their clothes on though. :-)
Rob, what you have is too good to waste. I'm sure many of those "friendly souls" do understand that it's unlikely that you will ever take up exactly where you left off. What I and others over the years have been trying to do is to encourage you to move on, find a new passion and purpose.
Given the encouraging signs of late I'm sure we all still live in eternal hope ;-)
Best
Keith
The only thing I have to say about any of this (and I promise to stop because all of this is just words about the past and I care zip about the past) is . . . to each his own and we're all different.
I never had plans to stop, hell I'm just getting good at this.
We have too much we plan and want to do, God willin' and the creek don't rise.
BC
The dude is not Young at all, I beleive on his 60, 65...he is working very well in your island, he sells well. I
Fred,uuuups... ;D
The dude is YOUNG, very young - a mere babe … what's the matter, no good at math ?
M
Fred,Yeah, that's just what I was going to say!
The dude is YOUNG, very young - a mere babe … what's the matter, no good at math ?
M
Yeah, that's just what I was going to say!
Rob, that's what you need to knock on your door: http://www.youtube.com/watch?v=NCZuYS-9qaw
or that: http://www.youtube.com/watch?v=VQh8oh0rj3s
;)
...I think I recognize from a casting, ...
Rob, take your camera and shoot a few frames of the guy repairing/welding your stove door. That alone would be something to look at. Maybe not your usual subject, but! Your posts are always a joy...help us with some visuals :-)
She is Anita Morris
Time for a snap? One in a series.
Rob C
Today's cover on the Wallpaper website.
Happy holidays!
Hey guys. Just back from another huge amount of time in the African bush. Here is an image I captured a few weeks back with my DF+, IQ280 and Schneider 240mm lens. I know medium format isn't the best or easiest tool for the type of imagery I create, but every now and then things just line up perfectly and I can grab a shot. Over the past year I have added about 6 medium format African wildlife images to my portfolio, so I am pretty happy with the setup so far.
testing the A7r on our last shoot of the year...Well I finaly shooted with the A7 in a private stuff along with the M.
(https://scontent-a.xx.fbcdn.net/hphotos-ash3/1461031_10202096581991127_706247718_n.jpg)
Happy Holidays!
CB
Now that's the house I always wanted for myself on a cliff, overlooking Monaco. Or even Loch Tay.
Sadly, I couldn't even afford the garage in Monaco. And Loch Tay would be impossible because of planning permits, anyway. You'd have to settle for building another cowshed in which to house sheep, not cows.
;-)
Rob C
P.S. It's nice to see somebody able to do these things. Same buzz as when I see a Ferrari go past.
You can get this in the Hollywood Hills, the Valley side of Laurel Canyon.
Problem is they are going extinct due to our actions and on our terms.
Today's cover on the Wallpaper website.
Happy holidays!
Nice shot; not sure why you went for MF unless for huge blow-ups, but impressive nonetheless.
Looking at your site, I am absolutely knocked out by the Skeleton Coast, Namibia image you have, the flying one of the dunes and the sea. It's beyond pretty and touches something primaeval - the same kind of emotion that volcanoes induce if you find yourself near them. The sense of unstoppability, of the relative insignificance of man in the general scheme of things, even if we are quite capable of destroying the entire show. It also touches a sense of the romantic - of places we shall probably never see. I felt a similar sense as a child, sailing up the Red Sea, with Arabia on the starboard bow, that distant line of jagged mountains looking so Arabian Nights it wasn't true. The world is indeed an amazing place.
Of Africa and safari the most lasting impression that I have, which struck me immediately, was the cruelty of zoos: when you realise the vast spaces that animals require, that they use in their hunt for food and survival, the idea of caging something with all that background of latent experience, throwing it some dead meat like a tip, seems unbelievable.
I think that the preservation of species case is bunk. Why do we think of doing it? For the sake of the animals? No, for the gratification of ourselves, the curio value. We cage humans for punishment; how do we miss the point when we do it to an animal? Better to go extinct on your own terms than live in a prison.
Rob C
One more, if I may, from same shop outfit.
Ilia
Now that's the house I always wanted for myself on a cliff, overlooking Monaco. Or even Loch Tay.
I doubt you'd use the pool much at Loch Tay, Rob.
Jeremy
...jewellery has been cleaned in ultrasonic cleaner and dryed with steam after I use only microfiber gloves (black) to handle this and keep all set V clean use watchmakers blow thing to dust off right before shot taken. I know some say it can be cleaned in Photoshop I honestly given up cleaning fingerprints from jewellery shots.
Hello,
This is the first of a number of 24 locations I have to photograph around New Zealand over the summer for a client of mine.
Cheers
Simon
Hello,
This is the first of a number of 24 locations I have to photograph around New Zealand over the summer for a client of mine.
Nikon D800E and Nikon 14-24mm G lens
Cheers
Simon
should interiors look so, well, yellow?
Nice image Simon. Although, I would like to see it color balanced somewhere between inside and out; the yellow just seems too strong.
Nice shot, Simon, just one question: it's never been my bag, so I don't know, but should interiors look so, well, yellow?...
Hello,
This is the first of a number of 24 locations I have to photograph around New Zealand over the summer for a client of mine.
Nikon D800E and Nikon 14-24mm G lens
Cheers
Simon
Hello,
This is the first of a number of 24 locations I have to photograph around New Zealand over the summer for a client of mine.
Nikon D800E and Nikon 14-24mm G lens
Cheers
Simon
Start of the new series
[
Happy New Year, everyone:)
Start of the new series
(http://michaelezra.com/Projects/Posts/BLE_A_108_web_800px.jpg)
Happy New Year, everyone:)
Indeed! All been said... excellent work.Michael Ezra's nudes are always elegant and classy, in a league with Edward Weston's.
I'd add, "Looking forward to seeing more" but with nudes that might be misconstrued. ;)
Mike.
Michael Ezra's nudes are always elegant and classy, in a league with Edward Weston's.
Eric
Hi,I agree with that, too. But I feel that Edward and Michael each has produced the most sophisticated and classy nudes of their own time. Edward's were the best of the whole twentieth century, and Michael's certainly have a lock on the twenty-first, IMHO.
I almost agree, but I feel that Michael is in a league of his own.
Best regards
Erik
Guys, thank you for your kind words. I don't even know what to say..., so I'll just post more pictures:)That's exactly the response we wanted. ;)
Contax P30+
(http://www.russellrutherford.com/russell_rutherford_gold_shoes.jpg)
BC
Contax P30+
(http://www.russellrutherford.com/russell_rutherford_gold_shoes.jpg)
BC
Rob, Thanks and very true. FYI it is scanned 4x5 film printed digitally.
Contax P30+
(http://www.russellrutherford.com/russell_rutherford_gold_shoes.jpg)
BC
James, I am curious, on the last image - the design is clearly intricate and requires a skill, but how much "stray hair Photoshopping" could one expect from the "best" hairdresser?
Is this mostly handled in post or on the live model?
quick grab of a chair... available light.
(http://christopherbarrett.net/forum_images/chair.jpg)
Chris, Are you able to tether the camera and process in C1? Jim
Took the A7r out on this shoot too and it performed impressively. This was with the Leica-R 70-180 2.8, a stellar piece of glass.
(http://christopherbarrett.net/forum_images/131202_014.jpg)
Full Size for the pixel peepers (http://christopherbarrett.net/forum_images/131202_014.tif)
Took the A7r out on this shoot too and it performed impressively. This was with the Leica-R 70-180 2.8, a stellar piece of glass.
(http://christopherbarrett.net/forum_images/131202_014.jpg)
Full Size for the pixel peepers (http://christopherbarrett.net/forum_images/131202_014.tif)
JIm,
Apologies for butting in, but as there has been some ambiguity on other threads plus I've just been testing the A7r, today - thought I'd quickly comment.
(1) Both C1 and Lightroom offer file support but not tethering.
(2) You can tether with the SONY Remote Camera Control App. It downloads both RAW & JPEG's (or both) to a folder of your choice. It's fast - I tried it on FF RAW's - and In addition to the usual controls, you can, via the app, control and set:
-Drive modes (both single and continuous) , exposure bracketing, self timer, interval and host of others which I've now forgotten.
-WB (and) WB bracketing.
-DRO / HDR
-Colour Temp
-Colour Filters
-Picture Effects (the built-in ones, if you use them)
(3) You can also apparently tether with a program by DNA software. http://dslrsoftware.com/tethered_shoot_lr5_a7_macosx.php . Allegedly this also works with their iPad remote viewer. I haven't yet had time to try these out. Frankly the remote Camera Control works so well that I doubt I'll bother. Just set a 'hot' folder in either Lightroom or C1.
(4) The SONY 'multi' socket may be multi, but is in fact a USB MICRO socket. I've connected the camera with a bog standard USB micro cable (in fact a 20ft one) - and it connects/tethers with no problems. (Though it didn't mind being connected to either the mac or one of my hubs, it didn't work when I used a USB socket on the back of a Cinema Display).
I didn't expect it to work so well. It was rock solid. Impressive.
All best
M
I havent ever posted here but thought i may as well jump in with a pic. The jewelry images I do are heavily worked but the quality of the file is still due to the Beginnings. Sinar P3 54H and Bron lighting. this particular client has a product that needs a lot of attention. Have a look at my site for more. http://www.deanelliott.co.za/ (http://www.deanelliott.co.za/)
I don't normally do this type of work, but had a resin to and I'm glad I did. It was a blast to do.
(http://farm6.staticflickr.com/5527/11990907003_666b53da68_o.jpg)
Mamiya 645DF : Leaf Aptus II - 12 : 80mm f/2.8 LS D
I don't normally do this type of work, but had a reason to and I'm glad I did. It was a blast to do.
(http://farm6.staticflickr.com/5527/11990907003_666b53da68_o.jpg)
Mamiya 645DF : Leaf Aptus II - 12 : 80mm f/2.8 LS D
Very nice Dean. Clean work.
When you say Bron, does that mean you lit these with standard heads, or perhaps Box?
(https://scontent-b-lax.xx.fbcdn.net/hphotos-prn1/1525111_10202970932544253_1908402700_n.jpg)
One of my images currently in the "In/Visible Borders" Exhibit in Santa Fe. The City of Santa Fe Arts Commission’s Community Gallery. An abandoned Curio Shop along Rt. 66 in AZ. Curated by Mary Anne Redding. It is up through February 21.
an outtake from a recent shoot at a building research/testing facility. it's not a pretty picture but i like it. :)That is wild! I love it!
One from last weeks shoot...
(http://www.ashleymorrison.com/pictures2/Icehouse-177758.jpg)
.. in the restaurant at the Ice House hotel, in the west coast Irish town of Ballina.
Having said that, it does need something here in the foreground - so not sure what I'd do, if I were to shoot something like this again someday.How about semi-transparent ghosts instead of invisible ones? ;)
Yes, that's the bottom line.
So we made a few suggestions and then left it up to the client and their marketing people to make the final call - as I had only a few minutes of daylight left to play with here, to capture this and the other variations which included staff in the background.
Away, 3 years web use is all they are currently talking about right now - so I'll not lose sleep over it - as this is the image they are saying they want to use a lot more...
(http://www.ashleymorrison.com/pictures2/Icehouse-177632.jpg)
.. which is okay with me.
editorial story about a research facility.
Nobody ever posts in or cares about the "Non-pro" thread, so I guess I'll post here. :)
compliments - intriguing photo.
Synn, good attitude, even better photo. Don't you think that perhaps the skin tones would have been better if you'd shot it on a D800 ? - and, NO, you don't have to answer that ...
Nobody ever posts in or cares about the "Non-pro" thread, so I guess I'll post here. :)
(http://farm8.staticflickr.com/7328/12188097625_b3a89f7d3d_b.jpg)
Credo 40, 80mm LS, Elinchrom Quadra + 70cm deep octa.
Yes, that's the bottom line.
So we made a few suggestions and then left it up to the client and their marketing people to make the final call - as I had only a few minutes of daylight left to play with here, to capture this and the other variations which included staff in the background.
Away, 3 years web use is all they are currently talking about right now - so I'll not lose sleep over it - as this is the image they are saying they want to use a lot more...
(http://www.ashleymorrison.com/pictures2/Icehouse-177632.jpg)
.. which is okay with me.
Rob, Thanks and very true. FYI it is scanned 4x5 film printed digitally.
an outtake from a recent shoot at a building research/testing facility. it's not a pretty picture but i like it. :)
Kirk, Nice shot and I was wondering if it was film or not.
Quite dramatic. I miss New Mexico.
Here are a couple from a shoot of the new aquarium in Toronto. The inhabitants were very cooperative, the big guy at the top parked there for a couple of minutes.
Here are a couple from a shoot of the new aquarium in Toronto. The inhabitants were very cooperative, the big guy at the top parked there for a couple of minutes.
I love the second one.
What camera-lens combo is that?
Just playing actually...
One from last weeks shoot...
(image)
.. Dior's 'Adventures in Wonderland' party set-up, in the marquee at the Lodge at Doonbeg in County Clare.
Thanks, yes it is 4x5 b&w film.
And also if anyone cares, my b&w photography is a vital part of my "photography" career and my income so I post it here. I'm coming up on my 100th show next year. The only difference really between this and my architecture/editorial work is that with the b&w I am my own client-print sales are substantial but peripheral to my intent.
Thanks Michael,
All real, just a very, very good hairdresser. Not the best hair artist I've used but 99% as good, but the best I've worked with got married, adopted a kid, opened a salon and lives a real life.
To do fake hair is costly. I can be done, extensions work if they're expensive like 5 grand, wigs can work if they're also 5 grand and cut to the talent, but you have to really want that look and stills are much less forgiving than motion imagery.
This is the best hair artist I've ever worked with:
(http://www.russellrutherford.com/fashion/pictures/002rr_beauty.jpg)
(http://www.russellrutherford.com/fashion/pictures/003rr_beauty.jpg)
(http://www.russellrutherford.com/044rr_beauty.jpg)
I won't show you the worst.
BC
They actually created quite nice light when the main lights were dimmed, but that obviously then made it more difficult for me - and especially when I tried to show how it looked during the meal...
(image)
.. with everyone seated.
From a recent arch. shoot
This is a new house I had the opportunity to shoot. The architecture is amazing, I love it. It has taken 4 years to build and still on going.
Some images are a bit too distorted due to walls around the perimeter.
Hope you enjoy it as much as I did.
ACH
(https://dl.dropboxusercontent.com/u/10120389/Val%200214/_DSC1202.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Val%200214/_DSC1169.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Val%200214/_DSC1151.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Val%200214/_DSC1001%201.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Val%200214/_DSC1066.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Val%200214/_DSC1208.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Val%200214/_DSC1239.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Val%200214/_DSC1178.jpg)
Nice job! The shots look great!
Thank you James. Coming from you is a great honor. Ach
Two from this weeks shoot...
(http://www.ashleymorrison.com/2014-02/Dromoland-178380.jpg)
.. of the Lounge area and the Cocktail bar...
(http://www.ashleymorrison.com/2014-02/Dromoland-178564.jpg)
.. at Dromoland Castle in County Clare.
Two from this weeks shoot...
(http://www.ashleymorrison.com/2014-02/Dromoland-178380.jpg)
.. of the Lounge area and the Cocktail bar...
(http://www.ashleymorrison.com/2014-02/Dromoland-178564.jpg)
.. at Dromoland Castle in County Clare.
You can read more about this shoot and what was involved in creating this and some of the other images we produced at that time here: A lighting challenge (http://ashleymorrisonphotography.wordpress.com/2014/02/15/a-lighting-challenge/).
Fantastic new series, Michael!
A recent shot done for Jewelry client. Im quite happy with ho it turned out. What do you think? any input would be great.
Disclaimer: I'm not a professional.
That said: To me it looks like a gorgeous shot, but:
I'm afraid the reds - as great as they are - might overpower the jewellery - I can't judge if that would be a problem, just thought I'd mention it.
Cheers
~Chris
Hi Dean, the photography is great, but placement of the finger and its nail seems unnecessarily intrusive. My impression is that if finger was bent with the nail appearing at shallower angle, it would allow for a greater accent on the ring.
Thanks for your response Michael. I agree that a different angle of the finger could have been a better composition. There were actually a few shots exactly like that but unfortunately the client select is the one you see here. (I could not find the time to personally retouch extra images specific to my needs, not to say i would have chosen a better one though). Maybe ill look for a better one from the batch when i get some free time.
Thanks again, i appreciate your input.
While I agree with Michael that the composition is wrong, as an unique image the whole thing is right. And in fact it gets across very well how diamonds really are a girl's best friend ;)
Edmund
A recent shot done for Jewelry client. Im quite happy with ho it turned out. What do you think? any input would be great.
Your photograph is perfectly fine; why would you care what an electrician says about your plumbing or a sommelier about your cooking? (Of course, if you lived in Mallorca they might all be the same person...)
You have two important minds to satisfy: your own and that of your client. The rest, including my opinion, is bullshit. We all have degrees in critique...
Rob C
Syd Brak eat your heart out.
I'm not showing my wife that! I can't afford it!
Great shot. It oozes Valentine's Day.
I'm not showing my wife that! I can't afford it!
Great shot. It oozes Valentine's Day.
Are my images that bad that there is not one comment? Oh dear...
Are my images that bad that there is not one comment? Oh dear...Never good to follow pics of naked women with pics of interiors if you want any kind of attention on this forum. :D
Dean,
The image overall looks sexy and attractive. Decent execution.
The finger itself is a bit weird and prominent. Perhaps fade it from the left of the frame going in. This is the only major issue I personally have with it.
Other details I myself would alter...
The polish on the finger nail can follow the direction of the finger more towards the tip and not flair out. (The way it is now makes her finger look a bit "off". Also something too edited looking about the cutical).
Your highlight blows on the lips don't look too clean.
How do you price such an image for a piece that sells for $136?
Overall sexy! And great for V Day!
Very nice portrait Synn!
Apologies Dean (and Phil) - my comment is to Dean about his lovely shoe..
Regards
Sam
Some shots from a cross fit shoot I did yesterday. The first shot I've had in a while that allowed me to do whatever I wanted.
A fun little Anime shoot I did for an aspiring cosplayer.
I had to take a second look, and it is a secondary image, the first went through a closer look.
A fun little Anime shoot I did for an aspiring cosplayer.
What kind of spaceship is this?
Ion beam drive?
Cheers
~Chris
;)
Pretty:)
ZD & 80mm Mamiya lens
Apologies Dean (and Phil) - my comment is to Dean about his lovely shoe..
Regards
Sam
Well Chris, Rob Thanks for the liking and comments.
Chris my approach is to emulate or enhance reality, or both.
What we see is not the same film or digital sees, our eyes-brain accommodate to light, contrast and color temperature.
These images reflects what my eyes saw and what my soul felt sitting in that place.
If I photograph a wooden mountain house would provably use deeper shadows and more moody color balance.
Hope this answer the interesting question.
About my nikon 14-24 I thing is great for interiors, I use a 28mm, 35mm and 60mm as well. Distortion is minimal if you shoot at level.
ACH
Well - I think its a valid look and it has its own merits and beauty.
I just realized many interiors I see in this thread or occasionally in magazines have this sort of
soft lighting with hardly any shadows, so I wondered if its a kind of unspoken standard or market demand.
Cheers
~Chris
In a sense there is no right or wrong way in this, but there is competent and incompetent. And this is very competent of a full on "strobe lit" commercial interior. I'll bet the clients loved it. But compare it to the interiors of Yelhsa (I'm probably remembering his name wrong) who also posts here-who lights with much more drama. If this was a film shoot 20 years ago I would refer to these above as "American Style Lighting" of an interior vs. a European or Asian Style which used less fill and more shadows and contrast and existing light. I say that because both as a practitioner and an academic (I have done AP for a living for 36 years and taught AP at three universities) I have studied this subject extensively. These days those distinctions are meaningless. I don't know if that confuses things more or helped-just my analysis over the years learning from some of the US greats and then having the opportunity to watch some Europeans work in Santa Fe some years ago and trying to figure out the difference. I personally have moved from the American Style to a more European Style (now obsolete terms) with the advent of digital because it is more forgiving in mixed light and by layering files I can have much greater control than I ever had with film and don't have to have total control in a single exposure as I did with film.
New blog post regarding Art & Commerce with personal images derived from a commercial series...
http://christopherbarrett.net/blog/?p=2719 (http://christopherbarrett.net/blog/?p=2719)
(http://christopherbarrett.net/blog/wp-content/uploads/2014/03/OnSet_003.jpg)
CB
New blog post regarding Art & Commerce with personal images derived from a commercial series...
http://christopherbarrett.net/blog/?p=2719 (http://christopherbarrett.net/blog/?p=2719)
(http://christopherbarrett.net/blog/wp-content/uploads/2014/03/OnSet_003.jpg)
CB
@ Antonio... I typically avoid direct shadows in my interiors, they often just add visual clutter and distract from the design. Once in a while though, they make the shot... Here's one where I added my own shadow with an HMI through the window...
(http://christopherbarrett.net/blog/wp-content/uploads/2013/03/121003_004.jpg)
All good tools have a time and a place
CB
:)
(http://www.michaelezra.com/Projects/Posts/SSM_B331_V1_BW_web-1.jpg)
I'm going to have nightmares after seeing this one :)It's the dreaded Octopaw! :D
Edmund
It just likes being photographed:)
... (image) ...
But compare it to the interiors of Yelhsa (I'm probably remembering his name wrong) who also posts here-who lights with much more drama.
Actually, if you look through the range of Ashley's (Yelhsa) interior photos, you will also see a fair number with soft lighting and faintish, soft shadows also.
It just likes being photographed:)
(http://www.michaelezra.com/Projects/Posts/SSM_B324_V1_BW_web-1.jpg)
I heard about this movie, but never actually watched it... Always find myself steering away from the "dark" movies.
I don't perceive this as a threatening image and hence disturbing, I thought of it as playful and a bit funny.
That is, if it is not perceived literally, of course, or I would run from it as fast as I can:)
@ Antonio... I typically avoid direct shadows in my interiors, they often just add visual clutter and distract from the design. Once in a while though, they make the shot... Here's one where I added my own shadow with an HMI through the window...
(http://christopherbarrett.net/blog/wp-content/uploads/2013/03/121003_004.jpg)
All good tools have a time and a place
CB
New blog post regarding Art & Commerce with personal images derived from a commercial series...
http://christopherbarrett.net/blog/?p=2719 (http://christopherbarrett.net/blog/?p=2719)
(http://christopherbarrett.net/blog/wp-content/uploads/2014/03/OnSet_003.jpg)
CB
It's kind of a gentle self-parody of his beautiful, serious work.Thanks, Eric. That was the intent:)
Leica S2 120mm. Broncolor 575 watt HMI
(http://www.russellrutherford.com/leica_s2.jpg)
BC
Leica S2 120mm. Broncolor 575 watt HMI
(http://www.russellrutherford.com/leica_s2.jpg)
BC
Exquisite shot, BC!
Edmund, I'll bet broncolor thanks you. (insert silly smiling face thing).
BC
Leica S2 120mm. Broncolor 575 watt HMI
(http://www.russellrutherford.com/leica_s2.jpg)
BC
Edmund,
I think you see things I don't. I just push a little button so what do I know?
IMO
BC
Nachos's Apartment. Nacho is an architect and interior designer. HIs has portuguese background and his family is in the gourmet business. This is his kitchen.
Later some more.
Next week I'll be working with him again in a big house in Punta Cana, Dominican Republic.
(https://dl.dropboxusercontent.com/u/10120389/Apto%20Nacho/_DSC1552.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Apto%20Nacho/_DSC1532.jpg)
ACH
Pretty photo Antonio and I love the kitchen.BC good work, I wonder about your post. It goes very well with the subject matter. Nice recipe!
From Leica S2, broncolor 575 watt hmi, leica 120
(http://www.russellrutherford.com/leica_s2_2.jpg)
BC
Nacho's Apartment. Nacho is an architect and interior designer. He has portuguese background and his family is in the gourmet business. This is his kitchen.
Later some more.
Next week I'll be working with him again in a big house in Punta Cana, Dominican Republic.
(https://dl.dropboxusercontent.com/u/10120389/Apto%20Nacho/_DSC1552.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Apto%20Nacho/_DSC1532.jpg)
ACH
Hi Bob it is not laminated. It's wood specially ordered ti be different colors sticks.Thanks for answering my question. I live in Florida. My house sits on a four-foot thick concreted slab. Wood floors do not do well here in Florida when put on concrete--moisture, condensation, etc. The only hardwood options available are planks that have been coated, top and bottom, with a thick, clear polymer. The coated wood has no appeal to me. A lot of us Floridians (with homes sitting on concrete slabs) end up using tile of laminates. I had a rental property that had a terrazzo floor--the floor was beautiful. Terrazzo was commonly used until the late 60s. I am tempted to rip up the carpeting in our house and simply polish, stain, and seal the concrete floor.
ACH
olympus em-1, bron hmi.
(http://russellrutherford.com/yel_vs_skirt_oly.jpg)
I know this isn't medium format, though was shooting with the S2, shot about a dozen frames of this setup with the olympus and liked this pose.
At least it's a 4:3 crop.
BC
Camera set at 160 iso, image 1 1/3 stops under in exposure, so final ISO probably 800 something. Opening up and processed in lightroom, no retouching. Leica S2, Contax 55mm, window/room light
Not really finished, more of a production still.
Before starting, turned, noticed the talent and shot. Camera set at 160 iso, image 1 1/3 stops under in exposure, so final ISO probably 800 something.
Opening up and processed in lightroom, no retouching.
Leica S2, Contax 55mm, window/room light
(http://www.russellrutherford.com/s2_contax_55.jpg)
BC
If I told you that the first thing I looked at was how the Contax drew on the S2 ...
I'd be lying.
M
ps
Nice shot.
Not really finished, more of a production still.
Before starting, turned, noticed the talent and shot. Camera set at 160 iso, image 1 1/3 stops under in exposure, so final ISO probably 800 something.
Opening up and processed in lightroom, no retouching.
Leica S2, Contax 55mm, window/room light
(http://www.russellrutherford.com/s2_contax_55.jpg)
BC
Not really finished, more of a production still.
Before starting, turned, noticed the talent and shot. Camera set at 160 iso, image 1 1/3 stops under in exposure, so final ISO probably 800 something.
Opening up and processed in lightroom, no retouching.
Leica S2, Contax 55mm, window/room light
(http://www.russellrutherford.com/s2_contax_55.jpg)
BC
(http://www.russellrutherford.com/s2_contax_55.jpg)
BC
I can't really put my finger on it, but for some reason this one, for me, lacks Cooterness.
... How about a couple of scathing (or at least perceptive) commentaries before you go into hiding again?
Not really finished, more of a production still.
Before starting, turned, noticed the talent and shot. Camera set at 160 iso, image 1 1/3 stops under in exposure, so final ISO probably 800 something.
Opening up and processed in lightroom, no retouching.
Leica S2, Contax 55mm, window/room light
(http://www.russellrutherford.com/s2_contax_55.jpg)
BC
Nice images Chiek,
(http://www.russellrutherford.com/final_2_NY_blue_sofa.jpg)
Leica S2, Key and Rim Light 1ft. square Lightpanel LEDS.
BC
2014 volvo XC60 D5 awd for magazine
Love everything about it… Outstanding of course!
Leica S2, lightpanels
(http://russellrutherford.com/sml_rl_jeans_jacket_.jpg)
BC
Hello,
Olympus 50mm F1.4 MF lens on a Nikon D800E
Cheers
Simon
...Is there something special about nostrils?...
You have to have a nose* for such things ;D
*Idiom dictionary: Fig. to have the ability to sense or find something, such as news, trouble, gossip, etc.
Just wanted to share this view from recent stay in Mexico where I relaxed from everything professional:)
(http://michaelezra.com/Projects/Posts/2014-MX_0091-0093_web-1200px.jpg)
3 frame stitch with Nex-5R and Sigma DN 60mm
Hello,
Olympus 50mm F1.4 MF lens on a Nikon D800E
Cheers
Simon
2014 volvo XC60 D5 awd for magazine
Leica S2, Bron 575 HMI
(http://russellrutherford.com/la_per_innerwear_sm.jpg)
BC
Leica S2, Bron 575 HMIAdorable picture:)
BC
Adorable picture:)
Tooth seems like a minor distraction.
Teeth, nostrils... Invasion of the Body Nitpickers? ;)
Just wonderful!
As much as I would like to give the photographer all of the credit for great work; I am sure liking the skin tones coming out of that Leica S2. Is that what I am seeing?
But I'm curious what is anyone going to do with 400,000 iso? chase the cat around their flat in the dark?
IMO
BC
I'm starting to think that the CCD to Cmos controversy actually
Hello,Did you modify the lens or how are youmadapting it to a nikon?
Olympus 50mm F1.4 MF lens on a Nikon D800E
Cheers
Simon
Leica S2 the see see dee version
(http://www.russellrutherford.com/la_per_innerwear_1.jpg)
BC
D800e + Sigma 50-500mm @ Bronx ZooWow, Nice capture MichaelEzra.
first shoot with new h4x and credo 40, lookbook shots:
(http://craiglacourt.com/ftp/samples/0030_crop.jpg)
(http://craiglacourt.com/ftp/samples/0002_crop.jpg)
D800e + Sigma 50-500mm @ Bronx Zoo
(http://michaelezra.com/Projects/Posts/BZ_201208_238_BW_web1.jpg)
I've been comparing the later version of this lens to the original EX that I purchased in 2001 and have to admit that chose the original.
The new has OS and better contrast but the sharpness of the EX beats it still.
On the subject of CCD vs CMOS... the differences are insignificant in comparison of post processing impact on the final picture..
However much fun it is to play with the toys (and yes, it is just too much fun!:)), post work would be a better time and effort spent to get a significantly better final result.
first shoot with new h4x and credo 40, lookbook shots:
(http://craiglacourt.com/ftp/samples/0030_crop.jpg)
(http://craiglacourt.com/ftp/samples/0002_crop.jpg)
first shoot with new h4x and credo 40, lookbook shots:
(http://craiglacourt.com/ftp/samples/0030_crop.jpg)
(http://craiglacourt.com/ftp/samples/0002_crop.jpg)
Hello,As usual, crisp, clean, beautiful photography. Now, as for the WRX: Lust.
The new 2014 Subaru WRX.
Nikon D800E + assorted Nikon lenses.
Dedo’s and Ice light.
first shoot with new h4x and credo 40, lookbook shots:
Hello,
Nikon D800E and Nikon 85mm F1.4G lens @F1.8.
Cheers
Simon
Hello,
Thanks. Here's another taken on the same shoot.
Nikon D800E and Nikon 35mm F1.4 G lens @F1.6, 8000th sec.
Nikon SB900/Pocket Wizard FlexTT5/Softbox combo.
Cheers
Simon
Thanks. Here's another taken on the same shoot.
Hello,
Thanks. Here's another taken on the same shoot.
Nikon D800E and Nikon 35mm F1.4 G lens @F1.6, 8000th sec.
Nikon SB900/Pocket Wizard FlexTT5/Softbox combo.
Cheers
Simon
Jim, Craig . . . nice work.
Canon 1ds
(http://russellrutherford.com/la_perl_prime_sm_fl_tone.jpg)
(http://russellrutherford.com/la_perl_prime_sm_grn.jpg)
BC
... I hope you get paid!
This shot has been recently licensed to Canon through ImageBrief photo library for worldwide use, all media, one year, exclusive. More on ImageBrief blog: http://tinyurl.com/l2nkn3m
(https://farm8.staticflickr.com/7167/6415581677_61f8e94933_b.jpg) (https://flic.kr/p/aLVwVc)
Paris - Pont Notre-Dame (https://flic.kr/p/aLVwVc) by Slobodan Blagojevic (https://www.flickr.com/people//), on Flickr
bcooter…
Revives my urge to get a used 1Ds! Amazing work of course. Just curious, did you ever try the Kodak DCS Pro SLR Canon or Nikon versions? I remember trying one out when they were new and at that time thought the colors and skin tones were superb.
I still have my Kodak DCS ProSLR/c. I recently sold my 1Ds (It is a superb machine).
Hello Sam,
Totally agree with you ARC is the boss. Capture One is such a dog to deal with. When shooting teethed I always use Nikon Camera Control 2 and Nikon ViewNX 2 as they aren’t pretty but they are solid as a rock. The only time I use Capture One is when I need digital overlay and the minute I don’t need it I switch back to the Nikon software.
My wish would be it Leaf capture was compatible with Nikon NEF files, loved that software for previewing when I had a Leaf Aptus 75.
Cheers
Simon
I actually prefer Capture one, not just for workflow, but more importantly color. Lightroom has a severe problem with warm tones, espically when you push an image, the colors completely fall apart in lightroom.
Funny you should say that :-) I don't like C1 skin colors at all. To me they are way too warm, which might work in sunnier climes, but with Pacific North West light it looks a bit odd. It is almost as if C1 wants to give people a tan.
The best skin colors I ever got were with a D3x and C1 using the linear profile. I think that the use of the linear profile can make a big difference. Other tone curves tend to cause "bunching" in the skin tones, something that is almost impossible to fix. LR does not seem to have quite the same linearity in its "camera neutral" profile. The "portrait" profiles in both C1 and LR, while doing less damage than the "standard" profiles, is far from ideal.
And since you guys are getting all technical, check out this exercise from a few days ago. IQ260 vs Portra 160... but which is which?
bcooter
I still shoot with my beloved DCS760's in the studio today.
Perfect compromise between quality and file size for editorial work.
This was shot last year in London and the background shot in Bolivia
back in 2002!!.
It is a huge print being shown at Cannes this summer.
Hello,
Latest creation.
Cheers
Simon
Shooting this weekend, this one from a few hours ago... straight out of the IQ 260.
(http://christopherbarrett.net/forum_images/LandW_CompletedShots_003.jpg)
Kirk, Sarp is gonna come 2nd assist us tomorrow, should be good fun!
Author's portrait
Part of recent portrait assignment project...
A cover shot I rather like here -
http://www.machinerymovers.ie/augsept14/ (http://www.machinerymovers.ie/augsept14/)
Taken with the Mamiya, it does show that MF still has that something over FF, well, D3 FF anyway.
Oh, and the examples I used to illustrate the Canned Air Cleaning thread appear on page 70.
This is how Canon is using the photograph they licensed from me, on their new promotional web site http://bringit.usa.canon.com, devoted to promoting exceptional photography via a hashtag #bringit:
How does it show that exactly?
Some exteriors.
(https://dl.dropboxusercontent.com/u/10120389/Ammonite/_DSC1702.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Ammonite/_DSC1856.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Ammonite/_DSC1911.jpg)
ACH
Some exteriors.
(https://dl.dropboxusercontent.com/u/10120389/Ammonite/_DSC1702.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Ammonite/_DSC1856.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Ammonite/_DSC1911.jpg)
ACH
Penthouse:
(http://www.adrianschulz.de/ll/WGPH00.jpg)
(http://www.adrianschulz.de/ll/WGPH01.jpg)
(http://www.adrianschulz.de/ll/WGPH02.jpg)
Perky! (http://www.walmart.com/ip/Groom-Industries-AB22-Perky-Groomer-Carpet-Rake/29199471)
(http://theeasylivingstore.com/catalog/images/perky.jpg)
Leica S2
(http://www.russellrutherford.com/armani_sm.jpg)
BC
Perky! (http://www.walmart.com/ip/Groom-Industries-AB22-Perky-Groomer-Carpet-Rake/29199471)
(http://theeasylivingstore.com/catalog/images/perky.jpg)
Nice image BC but maybe like most gym bunnies your model should remember 'don't forget leg day' ::)
Perky! (http://www.walmart.com/ip/Groom-Industries-AB22-Perky-Groomer-Carpet-Rake/29199471)
(http://theeasylivingstore.com/catalog/images/perky.jpg)
Nice image BC but maybe like most gym bunnies your model should remember 'don't forget leg day' ::)
Do they make a foldable version of this?
The one I ordered has a three piece handle that breaks down
http://www.amazon.com/gp/product/B00DEKSW44/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1
Perky! (http://www.walmart.com/ip/Groom-Industries-AB22-Perky-Groomer-Carpet-Rake/29199471)
(http://theeasylivingstore.com/catalog/images/perky.jpg)
couple of timepieces, one a cover shot (was featured inside but they liked it so much i went on the cover) and a test shot work in progress for me (hands need moving to correct position as it’s a non working test piece)
Really nice work there. Well done!
Any chance of getting a breakdown of what was used to create it? or possibly a setup description?
thanks.
a roll of trace, one small flash light and a piece of silver card.
i make it sound so easy ;D
i actually use elinchrom ranger quadras (the battery powered ones) as working that close mono heads are cumbersome and often don't output low enough power and you have to add N.D's
the tudor just had a couple of extra exposures for the bezel where it is angled towards the light and a bit of detail for the lower strap (could have lifted that area but it’s easy to just shoot another frame)
Jaeger has a separate face shot and a large reflector on the right hand side to cover the silver bezel all the way round and a separate highlight exposure for the 2 lugs nearest the camera.
both on canon 100mm IS macro/sony A7r should have done the jaeger on a 90ts-e but was too lazy to change lenses so ended up stacking in helicon focus. the files at 100% look fantastic.
more timepiece bling. A7r canon 90mm TS-e helicon focus stack.
more timepiece bling. A7r canon 90mm TS-e helicon focus stack.
That's really pretty!Let us know of your progress with this equipment. Very interesting!
Background is rendered in post, far easier than rigging up glass/lighting
But it could be done, right?
With the right tools and light modifiers, it would not be that hard to add that light through the lens?
Black plexi, with a light underneath, very possible?
Penthouse:
(http://www.adrianschulz.de/ll/WGPH01.jpg)
(http://www.adrianschulz.de/ll/WGPH02.jpg)
The two images below are really good examples for a question I have been wondering for a while.
Could this angle be shot on a DSLR with a tilt shift or is it only achievable on medium format? It seems that some interior shots cover a wide angle but still look quite close. Is this done by stitching panoramics or using a longer tilt shift like a 90mm and moving further away. It's a wide shot but doesn't have a distorted wide angle feel. I was wondering if there is a technique for tilting that allows this coverage?
Thanks KP.
Thanks Jim. Which lens would be in the region on a dsrl? 45mm?
Just had a quick look at your website. Fantastic work.
The two images below are really good examples for a question I have been wondering for a while.
Could this angle be shot on a DSLR with a tilt shift or is it only achievable on medium format? It seems that some interior shots cover a wide angle but still look quite close. Is this done by stitching panoramics or using a longer tilt shift like a 90mm and moving further away. It's a wide shot but doesn't have a distorted wide angle feel. I was wondering if there is a technique for tilting that allows this coverage?
Thanks KP.
Nikkor MF25-50, 45mm set with 5mm up shift. F16, 1/2sec. ISO 800 (?)
my compact technical camera for a7R
Leica S2, Zeiss 55mm 3.5
(http://www.russellrutherfordfilms.com/final.jpg)
BC
Leica S2, Zeiss 55mm 3.5
(http://www.russellrutherfordfilms.com/final.jpg)
BC
Shot 2 days before the print deadline in 2 hours.
Thak you Eric. Enjoy!
ACH
Laboratory Grown Canary Diamond.
(https://dl.dropboxusercontent.com/u/10120389/jewells/24886_Laser_A%20.jpg)
ACH
There are many considerations for pricing a diamond. That is another story.
There are many considerations for pricing aRidiculousdiamondMFDB. That is another story.
Recently did some golf course photography. Would love to hear any comments from the more experienced landscape photographers.
HI all, recent jewelry image done with Helicon Remote on a Nikon + Nikon G 105mm macro. This was retouched by me. I'm not a professional retoucher so any comments would be welcome!
(https://dl.dropboxusercontent.com/u/10120389/AQ197_A.jpg)
ACH
Joe, I've been shooting golf courses lately and find that the best light is soon after dawn and a couple hours before sunset. Low, direct, cross or backlight make incredibly wonderful and dramatic images. The suggestion of a higher viewpoint is good, even a lift if you want to really provide a unique vantage point. Create a story with your composition, lead the viewer from the foreground to the background. Jim
It's all good, lighting, view and retouching, nicely done!
Leica S2What a wonderful image! Arresting.
(http://www.russellrutherford.com/s2_bed_horz.jpg)
BC
Leica S2
(http://www.russellrutherford.com/s2_bed_horz.jpg)
BC
Joe, I've been shooting golf courses lately and find that the best light is soon after dawn and a couple hours before sunset. Low, direct, cross or backlight make incredibly wonderful and dramatic images. The suggestion of a higher viewpoint is good, even a lift if you want to really provide a unique vantage point. Create a story with your composition, lead the viewer from the foreground to the background. Jim
Kirk, What a dramatic scene! The tonality looks strange to me though, not quite sure what it is, might be a contrast issue. Please show us more from the residency.
As my "personal work" is also a vital part of my income and name recognition stream.......Nice!
From my recent artist residency at the Petrified Forest National Park in AZ. 4x5 Ilford HP4+, 120 Nikkor SW, B&W Orange filter, souped in Pyrocat HD and drum scanned.
All points taken and some adjustments have been made - so thank you all for that.
As everyone sees things differently and /or sees different things when they look at an image... which sometimes I don't even see, until it's pointed out.
Some African objects, pieces of valuable collections.
Taken with a Hasselblad 503cw this week...
(http://www.ashleymorrison.com/2014-09/Hodson-180069.jpg)
.. on the balcony of Penthouse suite at the Hodson Bay Hotel near Athlone.
Anyway... how do you know ??
False advertising? Dunno, gray area there.
... False advertising?...
Beautiful, synn! Love the blue tonality.
(https://farm6.staticflickr.com/5597/15446743706_183b5dc26b_c.jpg)
Credo 40, Mamiya 35mm f/3.5.
This is another one of those "Bargain" lenses that really surprise me. It is eye bleedingly sharp in the center and a tad soft in the edges (Which C1P can fix in a second). I love the output from it. Little to no sharpening is needed in post.
(https://farm6.staticflickr.com/5597/15446743706_183b5dc26b_c.jpg)
Credo 40, Mamiya 35mm f/3.5.
This is another one of those "Bargain" lenses that really surprise me. It is eye bleedingly sharp in the center and a tad soft in the edges (Which C1P can fix in a second). I love the output from it. Little to no sharpening is needed in post.
PDF. Very interesting work on African Objects. Lovely collection. Nice lighting.
would be nice to have some more details of your procedure. Thanks.
ACH
Hello,
Here's four images I shot for Nissan which where then used for a TVC
Check out the video below
https://www.youtube.com/watch?v=WY7-_5m-y2s
Cheers
Simon
Selling the dream + False advertising + Wedding = ?
Hmmm... the same combination must have ruined my marriage too ;D
Awesome shot.
It has a LOT of heavy duty compositing work but looks good. I mean, as long as potential clients who decide to make this location the venue for their wedding do not expect to get images like this during their event, since it is an impossible image to get, it is "ethically" fine. The view is a product of your arrangement of elements, that true, are actually there, but not arranged in that way for real.
False advertising? Dunno, gray area there.
But besides that I like how you made the image.
Many, many years shooting that type of shot and then teaching architectural shooting for many more.
Well it is Ireland (or somewhere in the U.K.) Grey is what you get to work with all too often.
Leica S2
(http://www.russellrutherford.com/S2_REFLECTION.jpg)
BC
WOW That is gorgeous!
Curious, what was your lens here? Actually I just looked...."Zeiss Planar T* 2/80" and at f2.
recent work for a long time client, fun space...
(http://christopherbarrett.net/forum_images/140703_014.jpg)
cb
recent work for a long time client, fun space...
(http://christopherbarrett.net/forum_images/140703_014.jpg)
cb
Shot this earlier this week for a resort client. P45+ on the Arca RM3Di with a Roddie 55mm. I am finding that the 55mm is a really nice angle of view for resort work.
Sorry to say Joe, this photo has no sparkle. The light is flat and the OOF foreground is a bit off-putting. But if the client is happy and pays, more power to you.
recent work for a long time client, fun space...
(http://christopherbarrett.net/forum_images/140703_014.jpg)
cb
Nice shots.
I'm really curious what grinder that is?
Best,
Mitchell
Could you tell us a little about any supplementary light you used on this?
I also twisted off a number of fixtures in the foreground to increase depth.I see this now and it has wonderful effect with the 12x silk to the rear and interest on the floor....drawing my eye around the composition.
Another superb one, Sandeep! It is a rare treat to see so much clarity and well-controlled highlights in a night shot, with so much pitch-black sky.
Leica S2
(http://www.russellrutherford.com/s2_reflection2.jpg)
BC
Over time we just found that we worked more efficiently with strobe. Just being able to dial one down 3/10 of a stop is so much more accurate and fast than scrimming and HMI. I still love Kinos but also find them rather cumbersome, like the HMI.
Leica S2
(http://www.russellrutherford.com/s2_reflection2.jpg)
BC
Shelter from the calm by Sandeep Murali
Credo 40, 35 f/3.5, Big Stopper
A couple of recent jobs, grinder for a cover of a coffee mag, and a BFI film festival sponsored by IWC shot (offset for copy)
HI all, recent jewelry image done with Helicon Remote on a Nikon + Nikon G 105mm macro. This was retouched by me. I'm not a professional retoucher so any comments would be welcome!
(https://dl.dropboxusercontent.com/u/10120389/AQ197_A.jpg)
ACH
The Image looks great and serves its purpose a catalogue image. It shows all the details it needs to at the correct angle. The retouching is good too so, all an all round good shot. Well done.
Im interested to know how many images you took to stack it? And what is the result in dimensions, width and height?
These ones in the Pazzo Ristorante Miami. D800 + Carl Zeiss 35mm 2
(https://dl.dropboxusercontent.com/u/10120389/_DSC4582.jpg)
(https://dl.dropboxusercontent.com/u/10120389/_DSC4534.jpg)
ACH
and another....
I really like the work on your website as well!
Can I ask what you are shooting with? Just curious.
new shot for one of my clients (a leggings company)
Recent office interior. Nice, simple space. Sony A7r, Canon 17mm TS-E...
The Prussian House of Lords, since 2000 again the "Bundesrat" (Federal Council) of Germany in the center, in the face of a new big shopping mall in the front (Mall of Berlin).
(http://www.adrianschulz.de/forum/mob_02.jpg)
Aptus II + Ts-e 24mm
Slobodan, Yo do often see a skewing of the WB towards warm for many uses. If I was shooting for a hotel brochure, for example, I would go with a much warmer look as it can be much more inviting. For interior architects, so much of what they do is specifying the colors of the space. If I arbitrarily shifted everything warmer, it wouldn't render their work accurately. So, yes, my clients all expect the images to be neutral with accurate color.
I've read lots about problems with shutter bounce on the A7r. This is typically not visible with wide lenses... however I've shot mine with a Leica-R 70-180 2.8 and could find no evidence of shutter bounce softness. Maybe I got a good one?
CB
The Prussian House of Lords, since 2000 again the "Bundesrat" (Federal Council) of Germany in the center, in the face of a new big shopping mall in the front (Mall of Berlin).
(http://www.adrianschulz.de/forum/mob_02.jpg)
Aptus II + Ts-e 24mm
The widest tech lens I use is the Schneider 35mm XL. The Rodie 32 is also workable but nothing shorter than that.
So my current glass for the A7r are
Canon 17mm TS-E
Canon 24mm TS-E
Schneider 35mm f/5.6 Apo-Digitar XL
Schneider 43mm f/5.6 Apo Digitar XL
Rodenstock 55mm f/4.5 Apo-Sironar Digital
Rodenstock 70mm f/5.6 HR Digaron-W
Rodenstock 90mm f/5.6 HR Digaron-W
Schneider 110mm f/5.6 Super-Symmar XL
Rodenstock 135mm f/5.6 Apo-Sironar Digital
Hey Chris, how does one mount and shutter-sync those technical camera lenses to your A7r? Do you have an adapter that provides the full range of tilts and shifts (which I suppose would be the reason for using them)?
The 55mm Apo-Sironar, as an example, has a huge image circle...what would be the equivalent focal length on your camera?
Luke, the focal length doesn't change anything, but the size of the sensor/film area DOES.
I was asking what the /effective/ focal length (or FOV if one prefers) of the lens would be on a 24x36 sensor. I realize the focal length itself does not change, and realize the effects are due to the large image circle on a lens made for a medium-large format camera.
Owen,
C1 Pro had A7r file support shortly after the camera was introduced. They added tethering with 8.0. I just installed 8.1 which adds full camera control including live view to the laptop. I like the Sk 43mm XL and the Rodie 55mm Apo-Sironar digital in that range.
CB
So you are asking what the FF-equivalent is for a 55mm lens on an A7r? 55mm :/
Or do you mean with shifting/stitching?
Well here is the setup in a nutshell...
A7r body on an Arca-Swiss M2 with various German lenses on the front. I've been procrastinating an in-depth review forever (with video) and plan to work on that over the holiday break...
As usual, I'm happy to answer any more specific questions.
That answer your question?
Some shots I did last months on my studio with Credo 60 (view camera or Mamyia 645DF).
Well here is the setup in a nutshell...
A7r body on an Arca-Swiss M2 with various German lenses on the front. I've been procrastinating an in-depth review forever (with video) and plan to work on that over the holiday break...
As usual, I'm happy to answer any more specific questions.
(https://scontent-a-ord.xx.fbcdn.net/hphotos-xpa1/v/t1.0-9/10500366_10204650718242937_4088887446608299232_n.jpg?oh=de7544e0e7b8869e30f75e5e796dfc89&oe=54FC73E3)
CB
(http://cdn.c.photoshelter.com/img-get/I0000L1xg7AOdL9M/s/500/I0000L1xg7AOdL9M.jpg)
Dr. Robert Desimone for MIT Technology Review. H5X with Credo 40
Was in Cleveland recently and shot this pretty cool technology project.
During the planning of the shoot, I did not think the image of the fanned travel offices was going to be that interesting. I looked at it as more of a filler image; a image that needed to be captured in order to tell the entire story of the project. Although now, I am really digging it, especially with the light streaming out of the offices.
(http://cdn.c.photoshelter.com/img-get/I0000L1xg7AOdL9M/s/500/I0000L1xg7AOdL9M.jpg)
Dr. Robert Desimone for MIT Technology Review. H5X with Credo 40
new shot for one of my clients (a leggings company)
Hi Jim,
Totally agree with you when it comes to shooting silver car. I keep telling my clients to supply the car in silver as the results are so much better and the retouchers can then change the car to any colour the client wants.
The attached Subaru car was actually silver.
Cheers
Simon
Morgan, Nice dramatic shot! Can't beat the silver vehicles for lighting, so malleable. Jim
The attached Subaru car was actually silver.
Hi Keith,
Yes it is a awesome looking car and the interior is out of this world.
Here is what I call my base shot before I start to fine tune the car with diffrent lighting images.
Morgan!! Hey man, your work just gets better and better.
I should be to Palo Alto for a day or so for a quick shoot in a couple of weeks. Near you? Send me an email.
Cheers,
Rick
Hello,
Thanks to everyone for the kind words about the Bentley shot.
Here are a couple of images from Monday's shoot.
Shot over a 1000 frames using one of my new Nikon D8100 cameras and a Nikon 70-200mm F2.8 G lens.
Cheers
Simon
Hi Ian,
I glad I sold my old Nikon D800 and D800E cameras. The improvements on the new Nikon D810 are well worth the up grade. When you take into account that I sold both the old Nikon’s for $2,600.00 NZ and bought the two new Nikon’s on EBay for $2,900.00NZ it was nothing to up grade.
I bet you couldn’t do that with MFDB.
Cheers
Simon
Hi Ian,
I'm glad I sold my old Nikon D800 and D800E cameras. The improvements on the new Nikon D810 are well worth the up grade. When you take into account that I sold both the old Nikon’s for $2,600.00 NZ and bought the two new Nikon’s on EBay for $2,900.00NZ it was nothing to up grade.
I bet you couldn’t do that with MFDB.
Cheers
Simon
Wonderful! When can I move in?
To keep feeding this forum, I'm posting a refresh shoot from the Rio Vista House, now totally furnished.
Had some hassles combing the carpets. Maybe you guys can shoot some ideas.
ACH
Antonio, Nice job(s). Thanks for the link to the carpet brush, I just ordered one. We've used foam core and dragged it across the carpet as well, it works ok. What camera did you end of going with on the BK shoot? Jim
The fence shot actually has to be like that because is "the fence shot". It is for the record of the fence design, like it or not.
New website is up. Word to your mommy.
http://christopherbarrett.net/ (http://christopherbarrett.net/)
CB
New website is up. Word to your mommy.
http://christopherbarrett.net/ (http://christopherbarrett.net/)
CB
New website is up. Word to your mommy.
http://christopherbarrett.net/ (http://christopherbarrett.net/)
CB
Cool project we just shot in DC... all on the A7r on the view camera
(http://christopherbarrett.net/forum_images/150204_001.jpg)
(http://christopherbarrett.net/forum_images/150204_004.jpg)
(http://christopherbarrett.net/forum_images/150204_010.jpg)
(http://christopherbarrett.net/forum_images/150204_024.jpg)
(http://christopherbarrett.net/forum_images/150204_025.jpg)
CB
Hi Phil, I'm not a very good chef, for to be cooking in that house deserve a good chef, just imagine Sunday morning breakfast and your yacht waiting for you to ride.
Yeah the sun come from the right side of that living room. I filled with 5 flashes most of then through the glasses.
The very tinted glasses made me work a lot, they gave me Cyan colors all over. For thew ones I use inside I had to filter them to compensate. Still I did't have the appropriate gels to match the exact coloration so I end up doing Photoshop work.
This one I would have like to have the Yacht removed out of frame but the timing went wrong, they did not have captain for that day. I think that the architect never thought they would have it there the shooting day.
Oops there you go, things go wrong.
Any ways I don't look so bad..
(https://dl.dropboxusercontent.com/u/10120389/RioVista0215_03.jpg)
(https://dl.dropboxusercontent.com/u/10120389/RioVista0215_24.jpg)
(https://dl.dropboxusercontent.com/u/10120389/RioVista0215_22.jpg)
For this one I think I didn't perform my best. There were so many options, the yacht was park the opposite direction, I could have played more with lights...opinions please..
(https://dl.dropboxusercontent.com/u/10120389/RioVista0215_05.jpg)
What's the name of the hotel? "Nightmare Courtyard"? ;)
:D Very close, "Night New York."
Here's a couple more. They told me bright and inviting but to keep with the character of the design, so I keep on going back and forth on whether these are bright enough, or too bright, or are the blacks reading as blacks. And I just tried printing one; getting the contrast right on paper is kind of interesting.
:D Very close, "Night New York."
Here's a couple more. They told me bright and inviting but to keep with the character of the design, so I keep on going back and forth on whether these are bright enough, or too bright, or are the blacks reading as blacks. And I just tried printing one; getting the contrast right on paper is kind of interesting.
Chris, I deeply admire your work, which I follow for a lot of years and find it outstanding.
But if you ask about the site, I have some observations, if you don't mind:
For a 2015 site, the pictures are too small on an iMac (and I don't watch them on a retina display). Also on a phone or on an iPad I would prefer bigger size pictures.
A good example of a well designed site is this: http://julianabrams.co.uk Very good programming and very responsive, on whatever kind of device. Responsiveness, navigation and so on.
I'm not talking about Julian Abrams' work, which is also top class, but FWIW, I like your work even more.
Just my two cents.
My guessing , this was a real challenge. In the first post you made of this set a few days ago, I noticed a variation of lightness on the bed sheets, here they seem to be smooth out.
...
For a 2015 site, the pictures are too small on an iMac..
I am watching them on my 27" iMac and they are full-screen. Not sure what you mean then by "too small"?
... Weird thing is, on my MacBook Pro Retina, the portfolio images nearly fill my screen, but on my 30" monitor on the PC editing station they do feel small. I'm looking into this, as impactful images was a big push with the redesign and the reasoning behind the fullscreen homepage.
... Working this way, the images do seem small.
Thanks for your feedback, I appreciate the multi-device review! I'm kind of curious, though, as the images nearly fill my screen on iDevices. Comparison with Julian's attached. (I agree, his work and site are excellent). Weird thing is, on my MacBook Pro Retina, the portfolio images nearly fill my screen, but on my 30" monitor on the PC editing station they do feel small. I'm looking into this, as impactful images was a big push with the redesign and the reasoning behind the fullscreen homepage.
(http://christopherbarrett.net/forum_images/website_comparison.jpg)
Ahh... CTZ, so I guess you were initially talking more about my portfolio page with the small squares as links to the sections? Yeah, I'm ok with those being small. I totally welcome the critique and value your input. The site is important to me. Julian's is really great on mobile devices, where that was more of an afterthought for us. Definitely something to think about...
Thanks,
CB
And another one.
One this page http://christopherbarrett.net/portfolio_page/lake-shore/ you have two sets of arrows. I understand what they do, but still, from the user interface point of view, this might be confusing.
Chris, I believe that "exclusion" has been around for years. Nothing new then.
We've lost too many talented contributors to this forum recently including the very sad news last week. Please keep the images coming regardless of format.
I just noticed the 35mm exclusion update to the forum. Naturally, that was always implied merely by the title of the category. Many of us would skirt the line, posting multiple formats because we valued the opinions of those who frequent this thread. I respect the recent decision, think it makes sense and hopefully will see the end to all the pointless format bickering. This happens to come at the same time as I am transitioning most of my work to the A7r, though, so I won't really be posting images here anymore. I'll still check in and offer advice where I can.
Cheers,
CB
Medium format is just a state of mind, regardless of the camera you use. :PThis is so good!
I'm going to miss Simon terribly. I almost think that the D800/D810 contributors should still be allowed here out of commemorative respect.
It's worth remembering too that some of the early MFDBs were 24x36, such as the Leaf Valeo 6.
My first MFDB was a 36 X36 Imacon Ixpress 384c multi-shot back (16 MP 1, 4-shot, and 16-shot back) . My Oly EM-5 II produces better files. Go figure.
I just noticed the 35mm exclusion update to the forum. Naturally, that was always implied merely by the title of the category. Many of us would skirt the line, posting multiple formats because we valued the opinions of those who frequent this thread. I respect the recent decision, think it makes sense and hopefully will see the end to all the pointless format bickering. This happens to come at the same time as I am transitioning most of my work to the A7r, though, so I won't really be posting images here anymore. I'll still check in and offer advice where I can.
Cheers,
CB
I would love to contribute to this section of the forum however I got out of MFD last year so never thought it appropriate to post any images here. To be honest I am cluless to the format etiquette in this forum as I see many Nikon and Sony photographers post images here inspite of the 35mm exclusion? IMO this is the most interesting topic in this forum of late and I feel it would have an even greater number of contributors if we all knew the rules?
I think that the transition of a photographer such as Chris to a small-format back is really telling. In the days of film, there was a much clearer distinction between the different formats. With digital, especially recently, the distinction between medium and small format has become much less distinct for many applications, hence the frequent comparisons between the formats. Of course the Internet has given more people more forums to express their opinions as well.
The large spaces are fun and glamorous and offer so many options with what you can do with composition, lighting, staging, and so on, but there is nothing quite like walking into a tiny room (in this case about 8x10 feet) and at the end of it being able to say, "nailed it!"
Shot this yesterday.
Nice.
Looks like you are having fun creating your own "sunlight". Small spaces are a challenge to be sure, but it's all I ever shoot. I earned my wings shooting conversion van interiors decades ago, after that everything looked big.
Thank you Craig.
And you sure do shoot some small space. I see some of your images and say, "no thank you." Often I wonder, how did they shoot these things with 4x5s before having live view. I am all about ground glass, but when backed into a corner?
in the good old days you had to leave room for your head ;)
Here two more from that same interesting hotel, albeit at the other more toned-down location. Once again, they wanted bright and open but still maintaining the style. Since it was more toned down, we did more overall fill with little key lighting.
Do you ever use a polarizer to try and control reflections?
New website is up. Word to your mommy.
http://christopherbarrett.net/ (http://christopherbarrett.net/)
CB
Thanks Tom! Here is a link to a compilation of the footage from that project: http://christopherbarrett.net/portfolio_page/horizontal-slider-test-motion-portfolio/#slider-pro-3/4 (http://christopherbarrett.net/portfolio_page/horizontal-slider-test-motion-portfolio/#slider-pro-3/4)
Actually... we rented 80 feet of dolly track and ran it the length of the house down that main corridor :)
Cheers,
CB
Here's a few I shot for an Amish kitchen designer last month.
Here's a few I shot for an Amish kitchen...
Stainless appliances are always so much fun.....
Amish kitchen with electric appliances!? What's the world coming to? ;)
..from a social campaign.. about the refugees from Syria.
Contax 645 140/2.8 P65
Below I'm posting full res jpg.
http://bliss.bg/work/test/OON16622.jpg (http://bliss.bg/work/test/OON16622.jpg)
..from a social campaign.. about the refugees from Syria.
Contax 645 140/2.8 P65
Below I'm posting full res jpg.
http://bliss.bg/work/test/OON16622.jpg (http://bliss.bg/work/test/OON16622.jpg)
Headshots using the 645z + 150mm
Still blown away by the IQ
Recent shot for the Wall Street Journal's new ad campaign "Make Time" SAP CEO Bill McDermott
Well there sister hotel wanted some of that too...
.. so more fun this week at 6am - to the amusement of their guests it seems - at the Galway Bay Hotel in Ireland.
The lobby fireplace at the Killarney Park Hotel...
(http://www.ampimage.com/hotels/Killarney-183326.jpg)
.. in the Irish county of Kerry.
or even making a fortune from being a photographer :DJajaja
Hasselblad has a really pleasant color. I like how the Kodak sensor.
Hasselblad has a really pleasant color. I like how the Kodak sensor.
Thank you Ian.
You do great work too!
I see you use Mamiya as well.
Pretty photo Antonio and I love the kitchen.I think it would be a stronger image if it was not in the middle..............maybe a square crop would look better
From Leica S2, broncolor 575 watt hmi, leica 120
(http://www.russellrutherford.com/leica_s2_2.jpg)
BC
(http://www.russellrutherford.com/comp_1_el_m.jpg)
(http://www.russellrutherford.com/comp_2_el_m.jpg)
BC
Thanks,
I'll give an explain later when we have a break.
Here are two more from the series.
(http://www.russellrutherford.com/mars_900px.jpg)
BC
It feels that I am going to take a plunge and diverge from the corporate IT world where I've spent last 18 years on a day job into photography.
So I've assembled a portfolio representing some of my studio work: http://michaelezra.com/MichaelEzra_SculpturalFineArtNudesCatalogue-EN-1sm.pdf
Just like before every studio session for the past 15 years I feel that I know and have done nothing yet... I want to do something new.. something magical... love it, live with it and enjoy. What I don't yet know is how to make it commercial and sustainable. Any advise would be appreciated not less than a job offer:)!
What I find most challenging is how to get the *sustainable* flow of paying customers & orders, as so far commercial realization of what I do was mostly incidental
Just a thought, is it wise to mix nudity and family oriented shots with no NSFW warning on the timeless site?...
Ha! Although Mike has a point, your comment was dead on, Slobodan. I truly despise how prudish America is.
...There is quite a difference in being a business man...
... Keep in mind no successful image maker I know (unless they work in a catalog house) spends the majority of their time with a camera in their grasp...
And I'd say: "Thanks, but not thanks" - as I'm more than happy to employ myself.
However, if you would like me to produce and then provide you with some images for you to use instead, then I'd be more than happy to talk - as that is normally all that anyone actually wants to pay me for ;)
As for you seeing a 'blue line' around the images - I assume you are viewing the site using Firefox, as opposed to Safari (or viewing it on an iPad or iPhone) - as the Links / Active Links / Visited Links should be grey - but for some reason Firefox shows it as blue.
(http://www.timelessme.com/Projects/VIV-2015/VIV_A230_V1_web.jpg) | (http://www.timelessme.com/Projects/VIV-2015/VIV_A230_V2a_web.jpg) |
(http://www.timelessme.com/Projects/VIV-2015/VIV_A249_V1_web.jpg) | (http://www.timelessme.com/Projects/VIV-2015/VIV_A249_V2_web.jpg) |
The beauty of being a professional photographer, a business man, is that you would be able to devote as much as 10% of your time to photography ;)
The trouble is trying to justify to customers why they should pay you for the remaining 90%!
From a recent shoot:
(http://michaelezra.com/Projects/Posts/MichaelEzra_OKY_A111_web.jpg)
black camera
(http://russellrutherford.com/white_dress_thompson.jpg)
(http://russellrutherford.com/umbrella_thompson.jpg)
BC
A couple more from the same session:
(http://michaelezra.com/Projects/Posts/TM_NTR_20130515_151_web.jpg)
(http://michaelezra.com/Projects/Posts/TM_NTR_20130515_166_web.jpg)
On the same theme.
(http://russellrutherfordgroup.com/staten_island_ferry.jpg)
BC
Here are to recent shots I made while working as a Unit Stills Photographer on a feature film. Used the 5D3 and 70-200 f2.8L IS inside a blimp. 100% Natural light. I have done this type of work for years and love it. More and more it has become a much higher % of my work. Union rates are not bad.
That's very kind of you.
Honestly I've never really sold my work to individuals, except one image I allowed to be placed in a Paris Auction for charity that to my surprise sold for 5 figures.
(http://www.russellrutherford.com/paris_hallway_sm.jpg)
What I will do is if you will send an email to agent at russellrutherford dot com with some screen shots of the images you want if I have time I'll pull you some prints for no charge if it's just a few, but it could take me 6 months before we get a break.
Thanks,
BC
Two thoughts about architectural photography:
1) Architects are a picky bunch. They do not want to see buildings falling backwards or warped interiors (the ceiling & floor in the first restaurant photo are out of alignment);
2) The images look over-processed. Either the clarity is set too high or the HDR is too aggressive.
Maybe a good direction for you is to shoot architecture in black and white. That would certainly distinguish you from the rest of the pack. I am being brutally honest. I greatly admire your nude studies; they are extraordinary.
James, your images look like gems:)
As I am working on commercial portfolio, I've been playing with architecture images that I shot some time ago while walking around NY. Here is some of them and a couple of interior shots from local restaurant.
Critique is welcome:)!
(http://michaelezra.com/portfolio/MichaelEzra_RealEstate_p1.jpg)
(http://michaelezra.com/portfolio/MichaelEzra_RealEstate_p2.jpg)
(http://michaelezra.com/portfolio/MichaelEzra_RealEstate_p3.jpg)
(http://michaelezra.com/portfolio/MichaelEzra_RealEstate_p4.jpg)
from the architect/customer position - how do you/they discover photographers for commercial projects?
[ img ] [/ img ] tags (I added space characters surrounding 'img' so that tags can be drawn here).
A few more from today, BW.love the B&W conversion. Do you mind sharing what PP you used?
(http://michaelezra.com/portfolio/MEAS_RealEstate_p6.jpg)
(http://michaelezra.com/portfolio/MEAS_RealEstate_p7.jpg)
(http://michaelezra.com/portfolio/MEAS_RealEstate_p8.jpg)
(http://michaelezra.com/portfolio/MEAS_RealEstate_p9.jpg)
Ian, from the architect/customer position - how do you/they discover photographers for commercial projects?
love the B&W conversion. Do you mind sharing what PP you used?That is a stunning tower!
Michael, I love the black and whites. They make NY look appealing and I've never been or wanted to go there. I'm a desert rat hate the city. This is my territory. IQ180, 28mmIts ironic, once in a while I run away from the city into the desert:), although it is always nice to get back home!
The other thing that comes to mind is an agency such as Arcaid - they are well established and very active, and provide a really useful means of contact for themed built environment images - both as stock and for the commissioning of assignments. Their website is well worth looking at: http://www.arcaidimages.com/home.php. However, rumour has it that few are chosen...
This is a shot when having the first time a Hasselblad in my hands...after years of 35mm full frame cams. critics are very welcome
Juerg
Start of a new fine art series.
(https://c2.staticflickr.com/6/5632/22591783441_b0f0b78a63_b.jpg)
Credo 40, Mamiya 50mm shift.
2 shot, 66MP stitch.
Nicely done, Joe. A couple things... No. 02 the diagonal shadows across the foreground chair and loveseat behind it bug me. No. 03 ceiling shadows in the background and midground. These look they're from your lights. Clean that up, Man. I always do an exposure with my strobes off to let me clean up ceiling spill and other sloppiness.
The exit signs kill me too.
CB
Hi Erik, there is no correction involved here. The towers are naturally a bit skewed and the camera was tilted slightly down.
I know a clean background is sometimes better, however I do prefer to have a bit of..substance. Shadows, wall texture and so on - I think it all adds to the mood.
Yes! Please don't change anything, it is excellent as is.
Thank you, Marko and Ben!
:D
Synn, the towers still look disconcertingly diverging.
I like them all but number one is the strongest IMO.
... because all the houses in front are straight...
Number one? ???
Err uhm.. I guess you mean the other Chris ;)
Sorry to be such a pest but they are not:O. K., but straight enough..... old buildings are never rectangular......
O. K., but straight enough..... old buildings are never rectangular......
My fiancé got this for my birthday a few months back; tequila is my poison of choice and it was damn good!
I kept telling her you should shoot it, it's such a cool bottle. She never got around to it, so screw, I decided to shoot it this weekend. 8)
One of your nicest to date Joe. Are you using a reflector behind the bottle?
I went through two boxes of matches to get that smoke.
My fiancé got this for my birthday a few months back; tequila is my poison of choice and it was damn good!
I kept telling her you should shoot it, it's such a cool bottle. She never got around to it, so screw it, I decided to shoot it this weekend. 8)
Thanks Craig. There is a reflector behind the bottle, and the rock glass. 5 lights all together, plus bounce cards, black flags, plenty of gold foil to bring out the label, and I went through two boxes of matches to get that smoke.
Black Camera
(http://www.russellrutherfordgroup.com/blackawk1.jpg)
Black Camera
(http://www.russellrutherfordgroup.com/blackhawk2.jpg)
Black Camera and the closest I'll ever get to a landscape photo
(http://www.russellrutherfordgroup.com/blackhawk3.jpg)
BC
Cooter, I love how you continue to not suck.
Joe, keep on keepin' on, Man.
Thank you.
I know a clean background is sometimes better, however I do prefer to have a bit of..substance. Shadows, wall texture and so on - I think it all adds to the mood.
That's beautiful! How did you get the ice on the bottle? It looks absolutely natural and not artificial at all!
Recent furniture shoot... fancy camera, fancy glass, little sensor.
(https://scontent.ford1-1.fna.fbcdn.net/hphotos-xft1/t31.0-8/12339269_1023647680991104_5685414693809217840_o.jpg)
(https://scontent.ford1-1.fna.fbcdn.net/hphotos-xap1/t31.0-8/12309852_1023610610994811_1300423621428699053_o.jpg)
CB
James,
Don't go! Your images and perspectives are a huge asset to this forum.
It appears that the conversion of the main site has wreaked havoc on the forum side. I was also blocked from signing into the forum. If logging in with your email address doesn't work, here's a workaround suggested elsewhere that worked for me: go to an old post of yours, click on your old user name, and then log in from there.
John
Sent from my iPad using Tapatalk
James,
Understood and I respect you for that. However I actually paid and also got locked out. As cynical as I usually am, in this instance I'm guessing (hoping) there's nothing nefarious going on...
John
Sent from my iPad using Tapatalk
Nice commercial work chris. It has that historic 60's 70's look even though the products don't do the photography justice.
(Not a complaint as I've shot about 100gigs I ain't showing, cause it's my best work, but my most limited subjects).
Now Chris, it's time to break something.
You live in the world of Jazz
Study Reid, do a tribute, not a copy and rock it, or shall I say Jazz it.
I'm serious cause I dig your style man. Just get some on camera artist that knows how to react, prop it, and blanket your talent over the top.
BC
Reid Miles
Cooter, I hope you have sent a message, via the big, green "Help" button at the bottom right of every screen in the forum. It goes directly to the techies who are undoubtedly responsible for messing up the logins for some people but not others.
BTW: To the owner's mods of this site. I can't log in as bcooter as it just says, wrong info, so I'm going to drop this post in about 12 hours max.
If I've been locked out from posting, then let me know cause I have work to do and I'll never pay for the right to share.
If there is another reason I can't log in let me know straight up.
Thx.
BC
Eric M,Great idea! I'll even pay thirteen bucks for that header! ;D
That's kind of you and I've given this some thought. Once this login thing get's straightened out I will pay the $12, even though I seldom go onto the main site.
I think since other forum members are paying, then it's only fair that I do the same, whether it's required or not.
I still have my concerns,
(http://www.russellrutherford.com/LL_header_12_2.jpg)
but let's see what shakes out.
Personally I vote for this header change. (insert smiley face thing)
(http://www.russellrutherford.com/cooter_world_header.jpg)
Thanks
BC (JR)
Two of my favorites
Black Camera
(http://www.russellrutherford.com/web_2dual_horses.jpg)
Black Camera
(http://www.russellrutherford.com/web_2_atv.jpg)
BC
What is that "Black Camera" you often refer to, James?
I don't know cause we put gaffer tape over logos.
Let me check . . . hold it, opening up a case . . yep . . . it's black.
BC
Next time use the pink camera, I've heard it's even better!
Next time use the pink camera, I've heard it's even better!
Or red?Aw, shucks!
That was a genuine question I asked (about the black camera reference).
If I remember correctly, James was/is shooting with RED cameras, which have a distinct red button. Their latest model is named Raven (another reference to black). I do not know much about the motion camera world, but I do come across some of their ads when going through a photographic magazine. I noticed there Blackmagic cameras.
So pardon me for thinking that he was referring to either one by simply nicknaming it "black camera." Hence my question.
It was a genuine question, no hidden agenda behind it.
Not so recent but here it goes
(https://farm1.staticflickr.com/712/23217784570_58ff9b4a0c_c.jpg) (https://flic.kr/p/BnFdsw)
(https://flic.kr/p/BnFdsw)
Anyway, sometimes you use the camera you have to use, sometimes you use the camera you want to use.
Is it the right camera? Who knows, but it was for me at the time.
I've always taped over camera logos, cause after the main creative brief you always see something through a window of a car or something reflective and nothing shows up like the name of a camera in reverse.
Even if you can retouch it out it looks like a mistake.
Then early on with digital, clients would have their production manager on set and they asked way to many questions at exactly the wrong time.
So a little bit of black gaff meant less tech conversation.
I do like the thought of small, big and bigger.
I also understand the thing about Parkinson's hats. I've usually had two of every camera and I guess it's my broken brain, but one of my REDs I like better than the other, one of my Contax I like better, one of my Canons I like better.
So I'm not sure if what camera matters as long as the camera doesn't stop you.
IMO
BC
- just Vaseline and cheap Cokin holder!
Rob C
(http://www.roma57.com/uploads/4/2/8/7/4287956/8573155_orig.jpg)
The next best thing, on a cold day, is hot breath on the safety filter, but you have to be pretty damned quick to strike when the effect looks just so, otherwise you miss it.
Rob C
Rob,
I'll try that, perhaps need an assistant out of shot to do the repeat blowing !!
I know 'blad wedding photographers here used vaseline for a clear centre spot effect when that was all the rage, about the time babies began sitting in flowers as well. Happy days pre photoshop.
I should spend more time experimenting with the big filters, so much more versatile.
Hi Rob,
a small piece of thin stocking in front of the lens. With a cigarette you can burn a hole in the stocking right where you need sharpness. Unfortunately I don't smoke. Consequently I need an assistant who does. Stockings come in different colors and thicknesses. So you can adjust for color and blur strength. Much cooler than using Photoshop. But I admit: they look better on girls legs, than in front of lenses,
http://www.agentprovocateur.com/gb_en/fully-fashioned-stockings-black
Best,
Johannes
Vaseline, shmaseline :) The best contraption i"ve seen is a single fishing line across the lens. Never tried it, though.
I think the worst thing about digital (and it's a long list) is digital is the age of sharpness and pixel examining, not this forum but everywhere.
Lots of way to make a glow or flare.
Tiffen soft focus filter with a little added diffusion.
Black Camera
(http://www.russellrutherford.com/GLOW_IS2.jpg)
Black Camera
(http://www.russellrutherford.com/GLOW_IS.jpg)
The very best was David Hamilton. Caught some issues due to the age of the girls he photographed, but is a beautiful artist.
https://pp.vk.me/c616323/v616323550/636a/hNv8Ji1MpYU.jpg
IMO
BC
I think the worst thing about digital (and it's a long list) is digital is the age of sharpness and pixel examining, not this forum but everywhere.
Right after the attack in Paris I helped a photojournalist friend cover a rally in our city for the victims. I used my D200 as well, but at times it got really dark because street lights are barely designed to do their job let alone be good lights for pictures, and in some the poor old camera couldn't be up to par with the D700 or D7000 in shadow noise.
So I got some flack for it because the pictures weren't pixel perfect, and I just couldn't care. I was taking pictures in the cold, trying to move through the mob and the other photographers, sweating and carrying all my gear. The subjects weren't that great, plenty of local politicians that wanted to join in and get pics with a group of Muslim immigrants to show that they were totally not xenophobes (hint: they are). And to top this all off, my D7000 had major issues focusing under those stupid sodium lights that have never been replaced since before I was born or something like that, so I was pretty much forced to use the older camera with the better AF.
And yeah, I understand that the D200 loses a bit at ISO 1600, but frankly for pictures that have to be resized to 600x400 and uploaded to the web, it was plenty good. But no, they had to be pixel perfect like shooting in the studio. I couldn't even use a flash most of the time because I had to take shots of the people holding candles as well.
Were people this anal when the D1 was the state of the art?
Christoph, excellent.
Christoph, excellent.
Chris, that first shot looks like a man in a dress? I hope so, otherwise it must be the lighting which makes it appear that way.
Here we go again.And I was about to remark that Michael Ezra's latest looks like a woman in a dress, but I guess I shouldn't. ???
Rob C
And I was about to remark that Michael Ezra's latest looks like a woman in a dress, but I guess I shouldn't. ???
I love the "stout" set.
.....The other lucky thing was that, aside from a single white card, my entire set was surrounded by black cards. My stylist although was wearing a light grey shirt and she just so happened to be standing on the side the head foamed over, helping to give the foam a little bounce.
I was a fan of Michael Ezra's work when I was a Photo.net user in an earlier century... glad to find him again :-)
Just finished this one:
(http://michaelezra.com/Projects/Posts/VIV_A271_V2_web.jpg)
Mountains from the Rocky Mountains National park, the rest is NY:)
I love me some diffusion on digital... not for the architecture of course, but for our narrative films it gives the Red so much more of an organic, filmic esthetic.
This is with 1/4 Black ProMist over Cooke Mini S4s...
(https://scontent.ford1-1.fna.fbcdn.net/hphotos-xpf1/t31.0-8/775612_590701920956263_1188268862_o.jpg)
I think this one really shows the effect of the BlkProMist
(https://scontent.ford1-1.fna.fbcdn.net/hphotos-xfp1/t31.0-8/704774_588977907795331_1964240689_o.jpg)
This thread is the gift that keeps on giving.Well said.
Such a nice Christmas present I had to photograph it!All I would have needed is the bottle and the glass. ;)
(In case anyone is wondering, altogether I used five strobes, one 4'x4' diffusion, three bounce cards, three black cards, and four or five mirrors/foil ... and, of course, I did use a camera! :o )
Such a nice Christmas present I had to photograph it!
(In case anyone is wondering, altogether I used five strobes, one 4'x4' diffusion, three bounce cards, three black cards, and four or five mirrors/foil ... and, of course, I did use a camera! :o )
Would love to know if you think I should use this image with or without the brand?
And now I want a nice, cold beer.
;DDid you guys ever see the run of 30 second Guinness commercials titled brilliant? [URL][https://m.youtube.com/results?q=guinness%20brilliant&sm=12][URL]
That's exactly what it is suppose to make you want!
BTW, just put the branded image on my website.
The cruel test of any new bar tender was to order 50-50 draft Guinness and cider. If they could serve that with a reasonable head they were doing well.
Michael, "After" is an amazing picture. To me, it's the strongest of the recent set. It's interesting looking at your color portraits. I think you are onto something...Absolutely.
Something dark, something bright!
Eric & Bob - thank you:) I am searching, we'll see. I got stuck in grayscale with a sterile background for 15 years and now craving texture and color:)
Here is one more from the same shoot:
(http://michaelezra.com/Projects/Posts/OLM_D48-49_V2_web.jpg)
Joe, do you know the lower power trick? Flash duration is markedly shorter at lower outputs. Dial down the strobe and crank up the ISO!
Eric & Bob - thank you:) I am searching, we'll see. I got stuck in grayscale with a sterile background for 15 years and now craving texture and color:)
Here is one more from the same shoot:
(http://michaelezra.com/Projects/Posts/OLM_D48-49_V2_web.jpg)
Here is a bit more of color!:)
Just going through the archives and editing... this is fun!
(http://michaelezra.com/Projects/Posts/OLM_0003_V2_web.jpg)
Hey Joe, how do you keep the glass that clean? Lots of hand washing?
Wood grain, which is inconsistent and unique, is what is the most difficult and takes the longest.
I always felt there is something masculine in this view. In this sense it is quite complementary to the "feminine" landscape from the Great Sand Dunes national park which I don't think I shared yet.
In preparation for ArtExpo... new Levitation
Wow. Well done.+1.
David & Eric, thank you:)
Here is one of my favorite landscapes from Bear Lake in the Rocky Mountain National Park.
(http://michaelezra.com/Projects/Posts/CO_2006_D8_530-552_V2_BW_web1.jpg)
Had a brighter weekend then usual!
what lens did you use for these?
Here is the female counterpart:)
(http://michaelezra.com/Projects/Posts/CO_2006_D4_0216.0223_web.jpg)
David & Eric, thank you:)
Here is one of my favorite landscapes from Bear Lake in the Rocky Mountain National Park.
(http://michaelezra.com/Projects/Posts/CO_2006_D8_530-552_V2_BW_web1.jpg)
This is a portfolio shot to show a potential client. Mamiya 645AFD, Leaf Aptus 22, 80mm f2.8.
(https://farm2.staticflickr.com/1446/24701371251_81d43beaf2_z.jpg) (https://flic.kr/p/DCLZ6e)The Pen is Mightier 2 (https://flic.kr/p/DCLZ6e) by Michael Long (https://www.flickr.com/photos/101669194@N07/), on Flickr
Arsenal Emirates Football Stadium and adjoining apartments.
Canon 1D X 35mmL f1.4
Joe, the heat is on:)
I am curious, is this a real flame or rendered? Looks real.
I know that trick, but it only works so well. I did that with the Black and Tan shot, but still got movement in the stream.
Now I liked the effect, especially the tiny light streaks from the carbonation being lit up. I do plan on experimenting with something moving a lot faster, but not so sure about how it will work.
Honestly, if I could have, in the black and tan pour, I would had used Pro-8s for all of the lights but the one backlighting the stream. That way, I could have frozen the bubbles on the glass to be tact sharp but kept motion in the stream.
I would love to experiment with motion, mixing different flash systems with different flash durations together.
Which kind of acid did you use for the back label? By the way, spectacular work as always!
As promised, "Bring On The Heat!" (http://www.josephmkitchen.com/blog/makers-mark-46-photography)
Thanks Brent for the tips.
I kind of thought a twin head for the main key light would be required. I also was looking at the Kapture Group laser triggers, and they look pretty nice. (Well, they sound like they work pretty nice, the cosmetic design though ...)
BronColors huh? I am kind of a Profoto guy though.
I just checked out the specs on both systems. It seems the Profoto's are twice as fast at full power, but the BronColor's are (or may be) 40% faster at low power. (I can't figure out what they mean by "1/10,000s|1/14,000s" at low power. I assume there is some variance at that speed; the Profoto's just say 1/10,000s at low.)
Joe:
If using flash I use and own Profoto for everything, but high speed. Then I use Bron. Surprisingly for a special high speed pack the Scoros is slow as %^&%$# at full power. At full power Scoros 3200J duration is like 1/400th vs Pro8 2400ws at 1/1600th.
Not all flash specs are created the same. Profoto specs are based on t0.5. Bron now shows both t0.1 and t0.5. The double set of duration numbers shows the difference between the t0.5 and t0.1. Bron shows both specs because others like Profoto use t0.5 to look fast. But there is a big real world difference.
Bron is also the only one you can actually button control the duration. It self adjusts the power output to get the duration set. At 1/ 10 000th you are at about 100 was I think. So a lot of times one is trying to get the slowest duration that works for the shot with as much power as possible.
I have the Kapture Group sound & laser kit. Old design from 20 yrs ago, but it works. The Pocket Wizard pre-trip shutter cable that I also use are $100.00 jokes. I keep 3 on hand all the time.
To date Joe, "Bring on the Heat" is your best tabletop photo. Nice separation between subject and OOF background, great color, nice lighting. Most of all, the set is simple--no extraneous props.
what lens did you use for these?
You'll always be a pro to me, Rob.
Unless, of course, you find a way to unlearn all that you learned when you were still earning money from photography.
-Eric
A new release from my 2012 trip to Patagonia
One damn cool chandelier!Totally!!!
Totally!!!
Did you have to move much furniture to get that shot? ;)
The project is actually a 30+ story renovation, and we plan on spending 4.5 days photographing it total.
So great when you get a project you can really sink your teeth into isn't it.
Looking forward to seeing the resulting works Joe!
Nice. Drone or helicopter?Helicopter. A drone would be illegal, I can't think of a signal job I've done in London that a drone would of been legal to use.
Nice, Joe... what strobe did you finally land on? Feels like you could have used a bit shorter flash duration. I really dig the mood in the second one, but it kind of bugs me that the straw is soft.
Joe & Keith, thank you!
Here are a few more from that trip.
(http://Photovertex.com/clients/_demos/web_posts/DSC00612_web.jpg)
Michael, what kind of lenses do you use in the "shifted" shots :)
Thanks
Something to start your day, and something to end it. 8)
This was my first attempt at splashes and pours; retouching is intense!
Nice work Joe, did you do that alone or with some assistants :)
In preparation for the ArtExpo... For the first time in 16 years I see my work in the size that it was intended!!!
A special thank you to Alex Kreymerman at Graphix Integrated for letting me use his shop to print this!
I've never heard of printing on vinyl, is this for the exterior display?Vinyl is what's used for window signage - they churn out a lot. It's pretty slick, and would work for a backlight setup. If I were DT/CI doing an 'exposure to medium format' event, I'd have a serious large format printer onsite. Give folks a 1' wide strip of 54"/64" paper with their image on it, just to give it a scale, would really have them considering what's possible.
Michael, i could write a book on where your trying to go, but this isn't it.
Your way too hooked up in what you like, without a clue of what serious people pay for.
IMO
BC
I'm personally way too hooked up in what Michael likes, too, but I don't have the moolah to be a "serious person." :(
In this business the ground is moving all the time and perception is reality, regardless of the reality.
You can show 45 architectural photographs and two nudes and I promise you'll be labeled as a someone who shoots nudes.
You can show 100 color images, but 10 beautiful black and white portraits and your the black and white guy.
I'm not being negative because a few rare clients will get the fact that your versatile, but most will label you, usually where you don't want to be.
Now the strange thing is an AD can work on a beer campaign, coming from a soap campaign, working on a jeans campaign and nobody blinks.
Anyway my point is find your market, even if it's more than one genre and make sure the market is viable. You may need to build separate micro sites not to confuse your market, or just bomb them with a huge body of work, it really depends on the client.
There are no hard and fast rules, but most of the time you will not shoot what you love, you'll shoot what the client needs, though you better love it or it will show. I know, confusing.
Rob C is an exception. When fashion wasn't working he shot semi nude calendars and did them very well but he defined a market found a client(s). If you look at his work he really was shooting the Sports Illustrated Swimsuit edition before there was a Sports Illustrated Swimsuit edition.
He had success and it wasn't luck, it was work, but he had a market.
Define your market and always have a compelling story of why you should be chosen.
I could write a book on this, but it's not a good idea in an open public forum, though I wish you the best because your heart is in it.
IMO
BC
But to keep the thread about photos, here's three recent
(http://www.russellrutherford.com/flying_strap.jpg)
(http://www.russellrutherford.com/nogales_RR_searching.jpg)
(http://www.russellrutherford.com/horse_patrol_beach.jpg)
This thread is a goldmine.Yes, it is!
In this business the ground is moving all the time and perception is reality, regardless of the reality.
You can show 45 architectural photographs and two nudes and I promise you'll be labeled as a someone who shoots nudes.
You can show 100 color images, but 10 beautiful black and white portraits and your the black and white guy.
I'm not being negative because a few rare clients will get the fact that your versatile, but most will label you, usually where you don't want to be.
Now the strange thing is an AD can work on a beer campaign, coming from a soap campaign, working on a jeans campaign and nobody blinks.
Anyway my point is find your market, even if it's more than one genre and make sure the market is viable. You may need to build separate micro sites not to confuse your market, or just bomb them with a huge body of work, it really depends on the client.
There are no hard and fast rules, but most of the time you will not shoot what you love, you'll shoot what the client needs, though you better love it or it will show. I know, confusing.
Rob C is an exception. When fashion wasn't working he shot semi nude calendars and did them very well but he defined a market found a client(s). If you look at his work he really was shooting the Sports Illustrated Swimsuit edition before there was a Sports Illustrated Swimsuit edition.
He had success and it wasn't luck, it was work, but he had a market.
Define your market and always have a compelling story of why you should be chosen.
I could write a book on this, but it's not a good idea in an open public forum, though I wish you the best because your heart is in it.
IMO
BC
Lovely, lovely images, Rob. I wish you had a book I could buy.
You too, Russell. The wisdom you so frequently share here, were it distilled into a volume one could hold in one's hands, would be worth vastly more than latest do-everything-magic-camera that, alas, gets most the attention around here.
I didn't have time to defeat myself by thinking.
Rob C
Rob, please make that book:)
That sentence is worthy of much thought!
Kumar
I don't know why, but I've always wanted to do a series of flora still lifes. So, I figured it was time I got it out of my system. Picked up a few things yesterday and cranked these out this morning. All shot with an unknown antique brass barrel lens. Lit with a kino overhead and sometimes backlighting with my new dedo led.
(https://scontent.ford1-1.fna.fbcdn.net/hphotos-xta1/t31.0-8/12909652_10208085984722452_3083716502959963095_o.jpg)
(https://scontent.ford1-1.fna.fbcdn.net/hphotos-xla1/t31.0-8/12971021_10208085745876481_9193937461788461731_o.jpg)
(https://scontent.ford1-1.fna.fbcdn.net/hphotos-xpf1/t31.0-8/12977163_10208085104580449_2170925521584686917_o.jpg)
(https://scontent.ford1-1.fna.fbcdn.net/hphotos-xal1/t31.0-8/12901536_10208085549751578_8322473320985058428_o.jpg)
CB
The halo I see around the flowers, is that from the lens or your processing?
Joe, these were shot with an ancient brass barrel lens of unknown make. In the end, I preferred a sharper look and went with my Canon 70-200...
(https://scontent-atl3-1.xx.fbcdn.net/t31.0-8/12973153_10208088479864829_6587450217746638551_o.jpg)
CB
Joe, these were shot with an ancient brass barrel lens of unknown make. In the end, I preferred a sharper look and went with my Canon 70-200...
(https://scontent-atl3-1.xx.fbcdn.net/t31.0-8/12973153_10208088479864829_6587450217746638551_o.jpg)
CB
(https://c2.staticflickr.com/2/1543/26393912576_8fcede205e_b.jpg)
Finally got around to posting this online. There's a few more from this batch, but this is the one the clients wanted printed.
Made the print on Kodak Metallic. Absolutely stunning.
Very nice Synn.
I remember you saying that you are not 100% professional. Do you intend to be there soon?
@JoeKitchen;
Very interesting, are these the final intended crops?
I'm just wondering whether you wanted to crop the sofa in the first shot the way you did or if you were forced to by circumstances :)
Now, I do usually fine tune the images using the tools in C1 just to make everything perfect, but I never use C1 to do any major fixes. This is because C1 assumes the center of the image circle of the lens is the center of the image, as does Photoshop, so the corrections are applied equally the same depending on the distance from the center. If the image had been shifted in camera though, this correction does not apply an accurate fix.
Joe, check out the Lens tab => Lens Correction => Movement tab
You can specify XY lens shifts which moves the center for CA, distortion, sharpness falloff, and light falloff. I gather it's an implementation of the Alpa lens correction plugin in C1.
Shot these with my completely out dated and 100% obsolete P45+ that does not provide nearly enough DR and high ISO capabilities. Thank God my clients don't know that! ;)
More to come later on; I'll be editing these all weekend. Now, though, off to the pool for 100 laps or so. 8)
I would suspect that Joe didn't correct the verticals at all, just the "horizon." Pro Arch shooters typically always level their cameras to produce vertical elements that are parallel to the edges of the composition. While many other shooters may follow the 80% default on keystoning for a perceived natural look, that approach is pretty much unused by professional architectural shooters, especially for interiors.
CB
The examples given by Phase One to illustrate the 80% reasoning are exterior shots of buildings from ground level. Commenting as someone who is not an architectural photographer or architect and who admires Joe's and Chris's work, I find that as a viewer and also on the small number of occasions I have shot buildings using shift, some exterior images of tall buildings from ground level with 100% correction can look unnatural to me, especially where a corner is dominant. With interiors I do always expect to see verticals completely parallel.
A pre-wedding shoot I did. The wedding theme is "Blue".
(https://c2.staticflickr.com/2/1618/26663498522_1d5c2eb940_b.jpg)
Michael - how complex was the lighting for this?
Mike
I hope (photographic) heavens will forgive me for dissenting.
Every single portrait contains a significant flaw. Either eyes are in the shade, pupils not visible, or only one eye having a catchlight (a second one would be easy to recreate in post). When you have both eyes and both catchlights, the grin is not flattering. The last one, with a lovely facial expression, is easy to salvage, by adding a catchlight and cropping out the out-of-focus hand. The first color shot has atrocious red skin blotches. I like the pose and composition in the first one, just needs some light reflecting back and illuminating eyes.
Hope this helps, as harsh as it sounds.
From a recent portrait session
(http://michaelezra.com/Projects/Posts/MichaelEzra_BTR_A09_V1_web1.jpg)
Sandeep, thanks for the feedback. Edmund got it right:) However, I agree about the extra grittiness of processing and that can be dialed down.
You see, every portrait is a portrait of not the subject but the situation in which subject has been photographed. I finally got to photograph the male portrait and nothing could stop me from crunching these images after all those smooth nudes:))) I let that craving leak and be portrayed. Now that that is vented, it will be balanced. One image, just before the last one has that quality. In fact, the subject even looks like an entirely different person here, which is not attributed to processing, but the mood at the time of capture, further carried via processing. I haven't done any localized retouching in these images, just used the overall global editing.
This is a portrait of a journalist leading a TV show. The session was carried in a very dim (modeling) light, aside from the triggered strobes. It was my choice to remove him from the spotlight, disallow domination and show a glimpse of who he actually might be. The 3rd (from the bottom) portrait is done leveling camera with the person in order to convey the feeling of live conversation that actually took place.
Good for you.
When everybody does the same...
Here's another. Not sure which one I prefer though.
Oh, I can help you with that: definitely Boy #2 :)
Boy #1 has an awkward, distracting highlight just under his right eye; his hand is covering the content of the glass (I assume the main subject of the shoot was the drink?); too much attention to his watch, shirt, and face; his posing is obvious. If the shoot was all about the boy, then maybe.
Nice shots, but I can't help thinking that it's "Suntory Time!" ;)
I think the first shot (bottle) works rather well. At first, I thought it must be an awful case of perspective distortion, but then I realized that is the native shape of the bottle. Perhaps a bit more space on the right of it? I assumed you illuminated it from behind and it looks great in that setting. A little less so in the Lifestyle shot, where the same luminescence looks a bit weird.
Thanks, although that is not what I was going for.
I hoping for some more critiques. I kind of think they're successful ... for the first time doing lifestyle. Can't help but think I need to learn to work better with models.
Had a long conversation with a lifestyle photographer today and he said they look good, but they look like they were shot by a still life shooter, not a lifestyle shooter. They need to look like they were shot by a lifestyle shooter.
If I was not so busy with paid work, I would be planning another. End of July is usually slow though.
Apologies (sincerely). I wasn't poking fun at you or your work. Just commenting that I was reminded of the scene of the movie just by virtue of the subject. I don't have the background to comment on the quality of the work from a professional standpoint so I probably should have just kept quiet. About all I could offer is that from looking at magazines from a consumer perspective, these shots look a bit sterile - they could use a little warmth and life, if that makes any sense? I will say that I quite like the first one (the bottle shot) but with regard to the rest, I'm wondering if the tech setup was hampering you, as I would expect that lifestyle might be shot more spontaneously and "loose?"
Hey Joe,
Technically, the shots are perfect. BUt as the others said, the models look somewhat rigid and stoic. They should feel at ease and naturally fall into the composition than being posed for it.
One issue I can think of is that you're shooting with a technical camera, which means every shot has to be set up quite extensively and you cannot do more freeform shooting as with an SLR body. maybe next time, try it with an XF/ DF+ and do small bursts of 3-4 shots as you talk the models through how you want them to pose.
... This is a virtual tour...
That's pretty cool Michael. Is there a way to make the scrolling a little less fast? I feel like I can too easily go into warp speed.
... Slobodan, virtual tours seem to be the best way to interactively show real estate with of a complex layout where looking at the still photos won't help to make sense of it:)
I understand the intention, but you know what they say about the "road to hell being paved with good intentions." I also understand that the demand for such gimmickry is driven by (most) real estate agents, who seem to think that "more is more." I tend to subscribe to "a picture speaks a thousand words" school of thought, rather than using a thousand pictures to say one word. I believe that a real estate photograph should be very close to a home-magazine style, conveying the essence of a space in a few carefully executed images. A work of Ashley Morrison (https://www.flickr.com/photos/37637197@N08) comes to mind (used to post in forums here). Again, not a criticism of you, Michael, but more of the whole RE genre.
It's just a cynical way to make a buyer/seller think he's getting better 'value' for his buck. Exacly the same way that car makers fill their tins up with even more junk that nobody needs but everybody has to pay for even though they will never use most of it. And then they make them so pretty you end up driving semi-blind because you can no longer see either the nose or the tail. Wonderful; just what we all needed!
OK, but in a case like this the buyer IS getting more value for his buck, or at least more product. Let's face it, the vast majority people who commission RE photographers hire very cheaply (as cheaply as possible), and, with the advances in equipment and the wide wide availability of folks that are willing to shoot local homes for pennies (and services that do the same for, literally, tens of dollars), anyone hoping to charge a fee that approaches any sort of worthwhile ROI has to offer bells and whistles to convince the purchaser that its a worthwhile expense. To my mind, RE photography is an area that has been among the most heavily hit areas of declining perceived value of imagery.
I understand the intention, but you know what they say about the "road to hell being paved with good intentions." I also understand that the demand for such gimmickry is driven by (most) real estate agents, who seem to think that "more is more." I tend to subscribe to "a picture speaks a thousand words" school of thought, rather than using a thousand pictures to say one word. I believe that a real estate photograph should be very close to a home-magazine style, conveying the essence of a space in a few carefully executed images. A work of Ashley Morrison (https://www.flickr.com/photos/37637197@N08) comes to mind (used to post in forums here). Again, not a criticism of you, Michael, but more of the whole RE genre.
I don't get the RE photo market...Why would anyone want to deal with those slimeballs?
Shot from recent look book job
Hi everyone, I'm completely new to the forum here. So I figured I would jump in by showing some of my work, I think it is probably the best way to allow you guys to know me a little better. :)
I'm a Canadian photographer, now based in Shanghai (China) and do mostly commercial and advertising photography. (lifestyle and still-life).
I had no watches in my portfolio, so these three shots are a recent test to get a bit of creative juices flowing.
****EDIT: feel free to criticize and share your thoughts please! :)
A short retrospective
(http://michaelezra.com/Projects/Posts/MichaelEzra_Composition_Journey.jpg)
Beautiful collection Michael!Thank you Phil:)
A few details from a house we shot in Florida last month.
(https://scontent.ford1-1.fna.fbcdn.net/t31.0-8/13528633_1151603871528817_4008235797563734486_o.jpg)
(https://scontent.ford1-1.fna.fbcdn.net/t31.0-8/13576681_1151603874862150_6409574290119818110_o.jpg)
(https://scontent.ford1-1.fna.fbcdn.net/t31.0-8/13559194_1151603868195484_6380364666814308581_o.jpg)
Goddamn sand flies, Man. I hate those things.
So nice to come back after all this time to find the top "usual suspects" and some new posting exquisite work! I have to admit, I just jumped to this page. I think I have missed maybe 30 pages? But its nice to be back and see these.
I'm surprised Shanghai_Phil, that you use a DSLR for such work. And 5 exposures for DOF and such is pretty darn minimal as well!
Thanks Guys, I thought the second worked the best too, and the card wallets is my favorite. The others are nice, but I think that one came out the best.
The wallets are a little dark for my liking. I did add a layer in C1 for each wallet and pushed them about a 1/4 to a 1/3 brighter then the surface, and also increased the clarity to bring out the texture. The client really did not like either effect and we went back to keeping everything how it was when shot.
For these (my own usage), I did add an high pass filter to simulate the clarity effect. I may brighten the wallets before posting them as well.
They all look good and artistic. In some cases, such as the last one, one could not be sure that they are wallets without explanatory text. However, the advantage of 2a is that they expose in a couple of cases, the inside of the wallets and how they are organized. This may help with people who are interested in finding out more about the product. Excellent photos/art, by the way.
More lifestyle from SM campaign.
(http://russellrutherford.com/russellrutherford_social_media_prepping_fb.jpg)
BC
More lifestyle from SM campaign.Very beautiful!
(http://russellrutherford.com/russellrutherford_social_media_prepping_fb.jpg)
BC
More lifestyle from SM campaign.
More lifestyle from SM campaign.
BC
More lifestyle from SM campaign.
BC
Some of our handiwork from South Korea is finally seeing the light of day. We had 6 days to play in this space and I kept two crews running continuously. So much fun!
Big thanks to Chiek for coming out to help and bringing along his 11-24 ;)
More lifestyle from SM campaign.
(http://russellrutherford.com/russellrutherford_social_media_prepping_fb.jpg)
BC
It is always a pleasure for the suggestions your offer Edmund. I'll try to remember to send you our casting sheets before production for opinions.
I see you loaded your acid pen again or is it just filled with wine?
IMO
BC
Cold perhaps... but what I read is vulnerability. The subtle resignation in her posture, her lips inhaling in question, her eyes guarded, uncertain. I think it's a dead on portrait of how women in today's society have to be constantly on their guard against predatory eyes. If we find that today's women are cold and aloof, I'm afraid that men are entirely to blame.
I think it's a dead on portrait of how women in today's society have to be constantly on their guard against predatory eyes.
Keith thank you I respect you but I'm outta here. I would love the ariticle i wrote on the Leica removed and all posts.
As long as the E ronalds dominate I have zero interest in being involved. I know and work with brave people, some in the shadows and he's neither. He's just a typist with a bottle of cheap wine.
IMO
Gone
James, don't fucking go.+1000!
There's neither need to respond to, nor even to read what specific posters write. You have a button - I think - to take care of that, and problem solved.
I've done what you contemplate three times (over a year hasn't been an unusual 'divorce'), but the only person losing out is oneself. Sometimes, others also miss one's presence and communication continues elswhere, but it doesn't feel quite the same because you can miss the value of conflicting points of view that are not always couched in offensive manner.
My own solution has been not to click 'ignore' but simply really to ignore and not read posts from people I consider to be stupid or just argumentative. If you don't respond they run out of air and realise what dicks they are fighting a shadow that refuses to see them.
So I ask you, old photographer to young photographer, please reconsider and don't diminish LuLa by leaving. Anyone can see just how valuable an input you can and do make. Let's not blow all of that and make the rest of us the poorer for it.
Please?
Rob C
This is a ridiculous criticism and one directed at this young woman, just so you could poke at James. Way to go. By the way, you are wrong....
How could he be wrong? He is expressing his personal impression. To you she isn't (cold)... to him, she is. These are opinions, not facts, so who is to say which one is right or wrong?
But the best suggestion is one I will take to myself. Don't open the door by being involved here.
IMO
BC
Maybe, I wasn't thinking that deep.
Edmund,
Like all things you talk but don't have the talent, ability or work ethic to produce, so in my world your an interesting annoyance. Not because your judge my photographs, you don't pay you don't hire, you do not produce.
You let others do the hard work and you judge like your above it and sadly you so far below it's sad from such a small man with a negative mind. Keep on talking but don't think anyone with a decent soul is listening.
The thing is you find importance in people noticing you, but do not realize your like a emoge sad or smiley face that no one takes seriously.
Maybe the issue is posted a red white and blue prop, not blue white and red. You should find a cable show to make money and be negative.
Until your gone, I'm gone.
Not an opinion, just fact.
BC
This is a ridiculous criticism and one directed at this young woman, just so you could poke at James. Way to go. By the way, you are wrong...she doesn't come across as frozen at all. Maybe you are projecting your own feelings into this photo.
I think this photo is exceptionally beautiful and the color choice, to me, is perfect. If it is to sell lingerie, it worked. As a woman, I would want to look like that (no chance but we all can dream).
Site owners, this is your party. You can invite and uninvite who you choose. If you choose trolls, then eventually, that's all you'll have here. I think most of us are fed up with trolls. They ruin everything add nothing except to themselves ( they always think they are so clever...and will get very self-righteous when challenged - they are always "misunderstood")
Yes, I'm pissed and fed up.
You wanna go ahead and act offended, go ahead, but no apology will be offered for an offense that was not intended,
... at least owns some medium format gear so he is qualified to comment
... but he can't help himself from being just plain rude ...
Qualified ?
Since when does simply 'owning' anything , qualify you for anything other than a maker's guarantee ?
Which is not something you could ever accuse Edmund of. Always courteous and gracious even under extreme provocation. As in this case.
Look, I like them both. Dallas was a tragedy and you can tell from Cooter's posts how heavily it weighed on him. Emotions run high, sensitivities are raised - understandably so. But personal attacks, of which this isn't the first, would have best been avoided , particularly when they're unfounded. Let's not be partisan and hope that in the not too distant future, it's sorted out, in private, between the two of them without the whole forum taking to the mattresses in another round of simulated gang warfare.
5 officers died in Dallas, news breaking that there are over 60 dead in Nice. Let's be grateful for what we have and spare a thought and prayer for those less fortunate.
On this I agree. With that thought I think this subject should be put down, there are much more important things in life than little photographs. If I hurt anyone's feelings I will offer an apology.
J.
Edmund could you just stop? You and Theo are doing really good job of ruining this board. Theo at least owns some medium format gear so he is qualified to comment but he can't help himself from being just plain rude, he's been slightly better after his enforced absence but I'm sure that will change. As for you I think you owned a P45 at some point, can you stick to posting on matters that you are experienced in, instead of inserting yourself into every single thread?
Please?
I think this photo is exceptionally beautiful and the color choice, to me, is perfect. If it is to sell lingerie, it worked. As a woman, I would want to look like that (no chance but we all can dream).
Well, Cooter indeed seems to have gone; what a bloody waste of a great contributor.
Well, Cooter indeed seems to have gone; what a bloody waste of a great contributor.
Cooter return? Somehow, I don't think so, but fervently hope I'm wrong again on this one. Of course, he could always just write, but the photographs were a delight in themselves, and I will miss them on LuLa, but his website is always there, so not everything is lost.
You have to look at it from the perspective of a top pro: comments on a worldwide forum that cast doubts on your work can do no good, and are possibly quite dangerous too, if they fall into certain hands. For us retired guys and probably for most amateurs, it simply has no impact beyond ruffled feathers, which can smooth down in time.
In the instances my own 'departures' I felt them coming over periods of time; there was nothing written about my images that pissed me off (I simply think folks who don't like 'em just don't get 'em, which covers all my bases), it was just the sense that I was often communicating with a bunch of pretty dumb minds, and that there wasn't much point in my doing so.
With time, I realised that by leaving I was also distancing from my life people with whom communication is a pleasure, so back I came until the next time. Yes, one did communicate off-line, but there is also benefit and pleasure in a more public form of communication and interaction.
But having said that, it's from the point of view of someone with nothing to lose. I'd have hated to feel my clients might pick up on some spiteful shit written without much thought... Retirement brings some benefit, if not many!
Rob
I will greatly miss his insight, but at the very least I can still follow the work on his social media accounts.
He had quite a few things to say about lighting as well!
He certainly did, and many of them I'd never even heard of, not existing prior to the mid-80's!
;-)
Rob
Tea anyone?:) D800e/Nikon G 60mm
(http://photovertex.com/wp-content/uploads/2016/08/PhotoVertex.Portfolio.Food_.20160803_237-1.jpg)
The couple in the truck engages me most. It's odd as the truck seems (and I'm not saying it is) to be at a slight angle. The driver is oddly very close to the wheel, I suspect it's posing to get the starburst which is great. But I can live with that artificiality as it just adds some tension to what could be a mundane scene. Nice shot which makes me look closer.
Jeez, another forum I feel unable to post in as I don't know what the qualification has to be and I'm damned certain no-one respects me.
BTW, if you have not checked out the link BC posted, I highly recommend you do. A brunch of really great work to look at.
Very nice campaign James!
BTW, if you have not checked out the link BC posted, I highly recommend you do. A brunch of really great work to look at.
Very nice campaign James!
Critique from respected and qualified individuals is great.
However unqualified stupid comments are not.
For whatever reason kikashi can just not help showing off his in bred horse's ass stupid opinion.
Jeremy may not have liked the shot of the couple in the car but, rather than being simply rude, he could have either said nothing or said something more along the lines of “Thanks to BC for posting the shots. I must admit that my preference is for a more realistic look, as shown in some of James’ other work…” I feel a good test of respectfulness is to think to oneself before posting, ‘would I comment using exactly these words if face to face?’
I’m sure that BC is perfectly happy for others to express their opinions of his work, but not when done in such a rude manner.
Do folk post images to this thread for critique?
Regardless if the photographer does not likes everything about the final look, it is still up to him to deliver what the client needs. This is called being professional.
Regardless if the style of any professionally produced image does not quite line up to what you think should have been done, remember that may have been a requirement of the art direction. It could very well be that any professional that may have worked on that campaign may have needed to reproduce the same look.
bcooter do you mind me asking what G stock is?
bcooter
I know what you mean. I used to shoot 80% 8x10 and I loved it. Looking at the bright upside down image on the ground glass was quite amazing. (everything I did was lit in a blacked studio) All that beauty went away over the cost controls.
I really do not shoot people but one time long ago I got to shoot a beer campaign that had talent & beer. Sets built to look like an age old cottage. Lit in the studio for a soft summer forest light. A great talent who could actually hold the bottle in place over & over so none of the through the bottle reflectors could be seen or sweat was messed up. Beer with 100% real sweat, no chemical additives. 8x10 film under exposed a bit and pushed 2 1/2 stops for the look, not for lack of light.
The greatest CD to work with ever and a client brand manager who came to the studio, looked at a polaroid and said "love it. We don't need to see the full bottle label. Everyone will recognized it" then they left and never came back for the next 4 days of shooting 5 ad images. Dropped the film off a week after the shoot and the client personally called to say he loved it all.
This is one of ad images. Straight scan from 8x10 absolutely retouching or grading at all. Used for vertical billboards and bus stop posters. Only copy was "Molson Ex" in a bottom corner.
Basically a back in the day dream job.
But hey now instead of an 8x10 polaroid I would have had a digital capture of the pre moved the bottle stage and been laughing to post.
I feel your pain Bcooter. Now days 1 day of shooting the "raw material" for 1 still life shot equals 3 days in post. The processing and post for your 39 set-ups in a day is truly scary.
:-\
It has only been a year since my full 2 yr break from doing absolutely any post work ended. Surprisingly I was happy to get back to it. Maybe because it was not by choice. But that is already starting wearing off.
Some how we have all transformed into computer pixel heads. Exchanging darkroom chemical dermatitis for computer reading glasses.
Here is one of my favourite images from my new personal series that I was working on while on a longer term visit to Brooklyn, NY. I have 5 more items collected and ready to shoot to make it a series of 10 images. Sadly I most likely will not be able to finish the series.
Wish I could have shot it on 8x10 but the multishot Hasselblad digital on an Arca Swiss M-Line is pretty good too. Actually very little post on these images as I left all the dirt, grit, and character imposed by the gutters of Brooklyn.
The rest of the images in this unfinished series can be seen here.
http://www.brentdaniels.com/Personal-Projects/Brooklyn-Gutter-Trash/1
Once you have a system linearized, all of your negs can print at the same exposure time, which is a beautiful thing for ganging up exposures.
CB
Further Manin' Up, ok Coots?
-CB
That is awesome!
What kind of printer are you using and did you need to buy special inks?
Also, what paper? I always liked Stonehenge; I found it to react very nicely.
It's been years since I did any alternative printing and would love to get back into it. I bought a book on doing Chrysotypes (gold printing) some years ago, but just did not have the facilities to develop negatives. Maybe if inkjet works well, I could convert digital captures to negs.
Not seeing the etch marking for the film type is kind of weird though.
Calla. Shot on Fp4+ 4x5. Platinum / Palladium print via inkjet neg.
CB,
Most folks in these parts talk pixels, most clients talk costs but you back it up with imagery. Being this good as fast as your doing it isn't hard, it is impossible and you go past the impossible.
Like they said in Tarantino's Inglorious Bastards".
Big fan of your work and I pride myself for spotting talent.
Your Pro.
BC
It was a Kodak paper stock I fell in love with for portraits. It has a beautiful texture and if you developed it with care and lot of rinse it was beautiful.
Kodak killed it off before digital took hold so I searched and found a 3 or 4 cases, maybe more. I have a friend that is an analog freak, one of these guys whose loft looks like the mad scientist with humdifiers, or dehumidifiers everywhere, backup power and filters, etc. etc. and he keeps it for me. One box (not case) got kind of screwy where some of the edges are damaged but the rest is intact and I don't do much with it but keep a lot of film and paper.
It's hard to throw away paper or film, even if I don't use it.
I have a ton of super 16mm fuji motion picture stock which is not made anymore as kodak owns the mp world, but super 16 fuji looks better than 35mm kodak (imo), it's just hard to load as it's physically thicker than kodak film.
Yea CB, me and my wooden camera. I love the deardorff, the bellows will stretch across the room and it weighs nothing. Downside is only the front has rise and fall, so perspective change you have to adapt to, which I'm use to so it's no problem.
Love it, though not for commerce even in the film days. Using 8x10 for people became a hard sell, due to film costs. I'd have the assistants load about 100 holders, and you'd load them and client's would just go crazy about the costs, so we moved to 4x5, then . . .well we all know that everything is smaller where 645 is considered large format.
I laugh when people who look at my 1dxI(s) and the new II and say what a big camera.
No 8x10 was big, but nothing was more fun that shooting people 8x10. It's interesting that our starting assistants are carrying around film rangefinders to get the film experience, but wouldn't know a view camera if it landed on them. They don't know what they're missing.
This was one of the last gigs for commerce shot 8x10 and all the movement was in camera, not post production. The only post production in photoshop was coloration as we did this in a monotone look and also colour. Even Nikon picked it up for their own promo use and paid serious money (back in the days camera companies paid serious money for use).
(http://russellrutherford.com/flag_shirt_web.jpg)
BC
PS CB is doing some seriously beautiful large format images and they are well worth looking at. Like everything CB doesn't mess around jumping from the low board. He goes to the top and dives in.
Not something I do often or try and get, but I really like this one.
I am interested to find out what you like about this picture. Please realize I am not trying to be provocative. I just don't "get" what you are seeing.
I don't know, bad judgment?
May I ask whose decision it was to have the shadow fall .......
Thank you
Hey Joe,
Don't go that far. Post what you want, or take it down. (I think you took it down cause it's commercial work).
My Best To You.
BC
May I ask whose decision it was to have the shadow fall on the backdrop? I'm just curious how it works in this situation. My guess is the art director suggests a style and you implement. If it's inappropriate to elaborate then no problem.
Lots of work with pretty girls (which I love.) Mine are a little rough. This is from working with the demolition crew taking down the 6th St Bridge here in LA. I don't really photograph people but I trying to grow and learn as a photographer. We setup a mini "studio" in the bottom of the LA River to photograph the guys.
(https://dkzqmqjr9uy7w.cloudfront.net/b03dfa60-d386-11e2-8f1b-e3cc9cc0674f/assets/367847b9-6082-4c4c-982b-163bc80c92d1.jpg)
(https://dkzqmqjr9uy7w.cloudfront.net/b03dfa60-d386-11e2-8f1b-e3cc9cc0674f/assets/6a1dbe92-5b95-4c5f-8074-feefd764c5dc.jpg)
Hey Joe,
Don't go that far. Post what you want, or take it down. (I think you took it down cause it's commercial work).
My Best To You.
BC
In good spirit I'll post a commercial image. Tear it up fellas.
(http://russellrutherford.com/sm_yellow_russell_rutherford.jpg)
Hi James, love the image, what was the main source of light in this shot?
I love Arri Tungsten fresnels. Their probably the best bang for the buck you can find and digital is quite forgiving with tungsten (depending on camera).
They kind of mess up the blue channel so it seems to give a fraction more grit and to me a film like look.
The shot in yellow has a shadow to give it some depth and as long as the shadow is defined it doesn’t detract, just adds to the image.
It was shot with the spot set on wide and using the doors, just slightly move them in to only cover the subject and background.
The one thing about lighting a subject and working a hard shadow is as the subject moves or changes position, you really need to follow them with the light.
Just 4 inches of movement of the light can make it or break it and I’ve never believed that when your shooting a living subject to plant them in one spot and not let them move.
It depends on your style of work, but I’ve always found that when talent is planted the spontaniety gets lost.
We mounted a 650 watt Arri on a C-stand arm somewhat loose and as I shot I direct the assistant to move the light, in this instance is was almost on top of the lens.
It make’s the talent’s blue eyes just pop and has a nice slight fall off on the body and face.
I’ve used Arri kits forever and have three ranging from 650 to I think 175 watts.
This was shot with three Fresnels, running a fog machine.
The plan on the fog machine was to add some extra look to the background, but the cool thing about filling a room full of mist is it softens the light just a touch and gives it a more even spread.
(http://russellrutherford.com/lingeroo2.jpg)
I’ve also used Profoto hard boxes, both of their Fresnel flash heads and they work well, but since we shoot motion on most everything now, I use flash less and less and more continuous lighting.
BC
Nicely handled, Joe. 1 and 4 are cropped a little tight for my taste. I'de let that building breathe a bit more.
Cooter, rock that orange and teal, Man! Really beautiful play on the negative space... like sexy Taoism.
IMHO
CB
Love that expression, Michael.
If you live in the UK, the Kray twins will be well known to you. This was where Reggie ended up, Blunderstone Prison cell 116. No attempt on my part to make this "art" just record.
Rob, so refreshing to see your stuff from the 70-s:)
Just made this one. What a character this little girl is:)
(http://timelessme.com/wp-content/uploads/2015/10/20160918_DKZ_327_V4_web.jpg)
In the end, given the same model and her attendants, pretty much everybody beyond a given level of competence can do the same thing.
That probably goes for all art forms and anything we, humans, do. We've been taught to learn to repeat and then happen to try it as something new, as its never really is the same thing. Most times its not even worth repeating, but once in a while magic happens and it is new.
Ever thought of recreating this now with the same model and attendants?;)
God, she's probably either dead or a grandmother!
I don't typically photograph my subjects backlit, primarily because I suffered from that horrible disease people acquire once they start shooting digital. You know, every possible detail must be captured with absolutely no clipping on either end, even if it means taking away all contrast, or you pathetically failed at producing the image.
Of course, it has been a decent time since I cured myself of that, but just never got around to exploring this type of lighting. I would like to do more of this exploration now.
Shot this project at sunrise last week with my P45+, single capture. Initially I framed it with the sun behind the tree, but about 60 seconds later, the sun moved into the image. I'm glad I waited for it; it adds much to the image.
(Of course another reason I never did this was because processing an image like this before C1 v8 was just not possible; it's amazing how much better Raw processing has become. And yes, I could have did a layer burn and preserved all detail without any noise when viewing at 200%, but that would have killed it.)
Auchendrain, Scotland. Barbour Calendar for 1975
Hi Joe, when looking on the thumbnail, this image seemed quite ordinary at first, but opening it and seeing it in detail revealed the effect of the sun star. It really does add to the image, nice depth in lighting.
I noticed a wire hanging through a large portion of the frame. How much freedom is there in this field in taking the wires out?
Joe, how do you find these places:)!
Slurp!
I love them both, Joe.
And whatever the hell this would be? :-\
Nice lighting. Is this a composite photo?
Bacardi's new satellite office in NYC. Can you believe only 4 people work here!
And, well, because one terrace is just not enough!
Unimpossible. New sculptural series of works with athletes without limits.
(http://michaelezra.com/wp-content/uploads/BER_A091_V1A.jpg)
Recent work for a client. I am new to this but loving it:)
Any suggestions are welcome!:)
(http://photovertex.com/temp/posts/NJGR-108LL_083-HDR_V4-web.jpg)
I wonder - you have such a beautiful style with your nudes, but you go off in completely different directions with all you other work. Do you ever consider bringing that style to your other work?
Thank you Sharon:)
Here is one BW of the Verrazano–Narrows bridge:)
(http://photovertex.com/temp/posts/MEZ_7687_V1.jpg)
Since I haven't changed or updated our website in 5 years, we've spent late nights a what little off time we have redoing our site and it's been a 6 months part time project. Kind of like having homework your whole life.
It's not quite finished, (is it ever?), but only needs 4 more gallaries and a dozen or so videos and then the info pages.
Anyway, I thought I'd show it.
http://www.russellrutherfordphoto.com/
(http://www.russellrutherford.com/website_opening_900px.jpg)
James, To me it looks like there's a screen texture over every image. I assume it's intentional, how come? Jim
This site is through one of the canned sites though lately have been working with a great web design group in London to produce microsites.. They're off the scale good, so . . . they sre now hard at work designing a site that is bespoke with better functionality. I'll still finish this one, but then we start again.
You know anyone that goes through this process would probably rather have root canal surgery than do a site, but hey, it's one of those things we all gotta do.
BC
James, very dynamic site. I can appreciate the effort involved!!! as just recently created three of them.
In celebration of my new large-sensor-645z, some color from today:
(http://michaelezra.com/Projects/Posts/NYSI_ClayPondPark-20161105_18-web.jpg)
James, very dynamic site. I can appreciate the effort involved!!! as just recently created three of them.
In celebration of my new large-sensor-645z, some color from today:
(http://michaelezra.com/Projects/Posts/NYSI_ClayPondPark-20161105_18-web.jpg)
actually, I shot that too the other night...
(https://scontent.ford1-1.fna.fbcdn.net/t31.0-8/15039443_10210027980431131_4671062504537330077_o.jpg)
350 North State (the Mies bldg, formerly IBM) looking North, correct
(http://cdn.c.photoshelter.com/img-get/I0000qySZ8EPCFJU/s/500/I0000qySZ8EPCFJU.jpg)
Wood's Cider Mill, VT
H5X and Credo 40
I had to dig out some old street photos for TV interview with Russia-K. These are some of my favorites from 2000, shot with Nikon F5
Here's another....
I love the second one, Michael.
Jeremy
(http://cdn.c.photoshelter.com/img-get/I0000qySZ8EPCFJU/s/500/I0000qySZ8EPCFJU.jpg)
Wood's Cider Mill, VT
H5X and Credo 40
I kinda wish I hadn't remarked on the previous set of pictures because it starts to feel to me like a personal witch hunt, which it is not. You've shown some great stuff, so it's truly not about you or ability.
Rob C
he said. “Digital for me stays exactly like film was before. The quality of the image is different, but......
From Peter Lindbergh's website.
..........................................
Rob C
I know he's not exactly your very favourite cup of tea, but I watched a Bailey video the other day,
Some world he inhabits!
Rob C
Rob this goes back to the comments on the button pushers, who in the great British public, I'm sorry this is UK centric, could name any photographer these days?
Patrick Lichfield, Beaton in the day maybe but Bailey!! Who else was parodied on TV ads, and being Bailey appeared in them, can't see that happening again!!
"Bailey's East End" for me shows what a great eye he has regardless of "fashion" and "portrait" - the payer gigs.
Does he shoot digital? Well a London dealer sold a Leica Monochrome recently with provenance of his sole ownership, it was pretty well used.
Once I redo it with the hands in the right spots, this is portfolio stuff. I just need a less scratched up watch to try it with.
The first link below is the one where I think Bailey talks about the Vogue situation (I say think, because there are so many of them in my mind they merge too well!). He also mentions digital as being a tool, nothing more and nothing less; the next one is a collection of some nice work of his, and the last one is of John Swannell, his one-time assistant who travelled the world with him in his heyday.
https://www.youtube.com/watch?v=ucd8WD3FM0U#t=5.5660634
https://www.youtube.com/watch?v=lCh2S0Hf_WE
https://www.youtube.com/watch?v=3EBi_M8mSa0
Rob
Rob,
As I am very interested in the historical fashion photography topic, I wanted to add this video pertaining to Bailey. He "consults" on a friend's remake of one of his iconic images. I found it interesting. If you haven't seen it, I hope you do too..
https://www.youtube.com/watch?v=kuoTMHBnrxw
The interesting thing I find, however, is when he compares the 1960's shot next to his remake at the end, I find the remake lacking. The original had a certain je ne sais quoi. From the arch of the model's back, to the whimsical, mischievousness of her expression to the more comfortable and "at ease" pose. Bailey's original stands head and shoulders above the remake. If I were to take on a challenge like that, I would put my own spin on it and probably would have short lit it right off the bat. But, hey, that's just me...
Thanks, I come up with the poses, and it is collaboration - each session becomes fine-tuned to abilities and limitations of each model.Your models seem to have no reasnoable limitations at all!
Thanks, I come up with the poses, and it is collaboration - each session becomes fine-tuned to abilities and limitations of each model.
A shot from the Serenity Room inside UC Jacob's Medical Center from our shoot a few months ago. Love how the benches grow out of the floor. The whole building is so "shwoopy"!
(https://scontent.ford1-1.fna.fbcdn.net/v/t31.0-8/15676055_1312522965436906_6730556365420735556_o.jpg?oh=d5b76c5bf93863dd60b3ee2df750a8b7&oe=58F80590)
A shot from the Serenity Room inside UC Jacob's Medical Center from our shoot a few months ago. Love how the benches grow out of the floor. The whole building is so "shwoopy"!
(https://scontent.ford1-1.fna.fbcdn.net/v/t31.0-8/15676055_1312522965436906_6730556365420735556_o.jpg?oh=d5b76c5bf93863dd60b3ee2df750a8b7&oe=58F80590)
A shot from the Serenity Room inside UC Jacob's Medical Center from our shoot a few months ago.
(http://cdn.c.photoshelter.com/img-get/I0000qySZ8EPCFJU/s/500/I0000qySZ8EPCFJU.jpg)
Wood's Cider Mill, VT
H5X and Credo 40
A shot from the Serenity Room inside UC Jacob's Medical Center from our shoot a few months ago. Love how the benches grow out of the floor. The whole building is so "shwoopy"!
(https://scontent.ford1-1.fna.fbcdn.net/v/t31.0-8/15676055_1312522965436906_6730556365420735556_o.jpg?oh=d5b76c5bf93863dd60b3ee2df750a8b7&oe=58F80590)
These two photographs, a portrait of a teenage girl and a glorious form of a musical athlete in free flight, which both are of the same person, captured just a few minutes apart, finally allow me to reflect on a theme that has been brewing in my mind for many years. It is about Becoming - becoming someone and something new with every moment, every step, every effort, becoming a new version of self.
(http://michaelezra.com/wp-content/uploads/MAP_A224.208.jpg)
The first one of the set is sublime. Would you consider cropping out the floor?
Hi Michael,
The picture of the flying girl is great. Can you share your lighting setup? I just got a 645Z and am inspired by your work. I'm in no means a pro but good lighting is good lighting.
Thank you
Greg
Are your results consistent using low power flash and high speed shutter?
I have seen that same flash model sold here (as a Godox). Was a bit skeptical at first, but I guess even a crappy tool in the right hands can create something spectacular! :)
Thanks Michael. I've had the Z for about two weeks so I'm definitely going to try out different things as I go along.
Greg
In this setup the shutter speed stays at max sync speed, so a pitiful 1/125 for 645z. Overall it seemed consistent enough.. if there was any variation, I honestly didn't pay much attention as its trivial to adjust in post. One just has to religiously take care to not burn the highlights with 645z - there is no headroom.
These flashes are fine.. they give light and quite a lot of it;) The only issue I noticed - there is a Y power cable which allows to shorten the recycle time, it has a current leak - with this cable connected and everything powered down the battery pack is discharging. Otherwise, these batteries just don't end.
I found very helpful reviews of this and other Flashpoint/Godox lights on this blog by Mark Kitaoka: http://www.markkitaoka.com/blog
XPLOR600 looks quite interesting & easier to connect with modifiers.
Thank you! I thought you used a higher shutter speed, it looks very sharp for 1/125!
In a studio environment with virtually no available light the shutter speed of the camera is not so important. The flash speed determines mostly the motion freezing. Much different story for the same shoot in available light (outdoor, on-location).
In a studio environment with virtually no available light the shutter speed of the camera is not so important. The flash speed determines mostly the motion freezing. Much different story for the same shoot in available light (outdoor, on-location).
Thank you! I thought you used a higher shutter speed, it looks very sharp for 1/125!
Hi,
As long as surround light is low, shutter speed doesn't matter.
There are some reasons that 99% of worlds best images are probably made with focal plane shutters:
- Could be that 99% of the cameras used to capture world's best images have FPS
- Could be that 99% of the worlds best photographers know to make best use of their systems
- Could be that 99% of the worlds best images are made in available light or in studio
Yes, I would suggest that there are situations where short sync times are essential too keep down surround light, but they may rather be exceptions than rules.
It may also be that great photographers can work around limitations of their equipment.
Not saying that leaf shutters are not great. Just saying that an awful lot of great images come from focal plane shutters. Leaf shutters have benefits for sure, just may be that focal plane shutters also have benefits.Those benefits may outweigh the disadvantages for 95% of the users?
Best regards
Erik
I disagree. IMO a portrait in available light with a natural background and the model is lit by a fill flash is more pleasing and more interesting than a studio scene with a white or grey boring background. When shooting without a leaf shutter in full sunlight environment you either shoot with a small aperture (e.g. f/16, but this does not give a pleasing bokeh) or using a strong ND filter (with the disadvantage of focusing and possible color shifts) or using some kind of tricks like FPS...High Speed Sync (with all kind of disadvantages of light output power loss and/or differing color balance). With leaf shutters as I do with my H6D-100c I can sync a mobile power pack up to 1/2000 sec in full sun light at f/2.2. The freedom of not having to worry of the limitation X-sync of focal plane shutters (1/160 sec ... 1/250 sec) is a luxury as soon one shoots a system with a comfortable leaf shutter as with Phase One or Hasselblad.
Hi,
As long as surround light is low, shutter speed doesn't matter.
There are some reasons that 99% of worlds best images are probably made with focal plane shutters:
Could be that 99% of the cameras used to capture world's best images have FPS
Could be that 99% of the worlds best photographers know to make best use of their systems
Could be that 99% of the worlds best images are made in available light or in studio
Yes, I would suggest that there are situations where short sync times are essential too keep down surround light, but they may rather be exceptions than rules.
It may also be that great photographers can work around limitations of their equipment.
Not saying that leaf shutters are not great. Just saying that an awful lot of great images come from focal plane shutters. Leaf shutters have benefits for sure, just may be that focal plane shutters also have benefits.Those benefits may outweigh the disadvantages for 95% of the users?
Best regards
Erik
Hi,
Not saying that leaf shutters are not useful, but consider this:
Total sales of interchangable lens cameras is around 10 000 000 a year while MFD market is believed to be around 10000 a year.
back to the starting point, this image was shot in a studio, although with available light and fill flash from front right (a large Profoto SB; maybe 50%:50%). Shot with H5D-50c f/5 and 1/800 sec, which is the upper limit for that LS 150mm lens. Still not tack sharp due to fast motion of the subject. The newer H6 do up to 1/2000 sec which probably would have done better to this scene.(http://jvpictures.com/share/image.jpg)
One more Unimpossible, 645z:It must have gone something like this:
(http://michaelezra.com/wp-content/uploads/BZAT_A167_V2.jpg)
Given that we are discussing professionals I think that ratio is probably a bit different.
I've been very fortunate this year, these "models" are world-class controtionists who are performing for Cirque Du Soleil. Just having them in my studio controting right in front of my eyes was an unforgettable experience. I am happy as a child:)I'll be happy to take any of your rejects off your hands, at no charge. ;)
I bought 645z in preparation for this session and now have to sift through 64GB of raw files:)
In this setup the shutter speed stays at max sync speed, so a pitiful 1/125 for 645z. Overall it seemed consistent enough.. if there was any variation, I honestly didn't pay much attention as its trivial to adjust in post. One just has to religiously take care to not burn the highlights with 645z - there is no headroom.
These flashes are fine.. they give light and quite a lot of it;) The only issue I noticed - there is a Y power cable which allows to shorten the recycle time, it has a current leak - with this cable connected and everything powered down the battery pack is discharging. Otherwise, these batteries just don't end.
I found very helpful reviews of this and other Flashpoint/Godox lights on this blog by Mark Kitaoka: http://www.markkitaoka.com/blog
XPLOR600 looks quite interesting & easier to connect with modifiers.
Hello Mark, it is great to see you here! I enjoyed reading your blog:)
I am preparing for the group exhibit at Museum of Russian Art (http://moramuseum.org, Jersey City, NJ) on January 14th, in celebration of the Russian "Old New Year".
Congratulations!
Erik
Thanks Erik! I'll be showing 6 nudes in a company of painters and other photographers.I wish I could get to see the show.
I know that a few boxes of Champagne were already brought in and no party goes there without some Russian delicatessen. Admission is free, just a couple flights of stairs:)
Another Unimpossible:)
(http://michaelezra.com/wp-content/uploads/BZAT_A447_V2.jpg)
This house we shot in Florida recently got some nice coverage in Florida Design Magazine ;)
(https://scontent.ford1-1.fna.fbcdn.net/v/t31.0-8/15895631_1334058023283400_8385341137966796912_o.jpg?oh=330d2a334b76eab3b8e29b67a6d21cdf&oe=58DB77A3)
Happy New Year, everyone!
Let 2017 spring off the hard work of 2016:)
(http://michaelezra.com/wp-content/uploads/BZAT_A312_V2.jpg)
If I handed an image like that to a client, the first thing would be, "why is the outside blue? Can you fix it?"
This house we shot in Florida recently got some nice coverage in Florida Design Magazine ;)
(https://scontent.ford1-1.fna.fbcdn.net/v/t31.0-8/15895631_1334058023283400_8385341137966796912_o.jpg?oh=330d2a334b76eab3b8e29b67a6d21cdf&oe=58DB77A3)
On that note, my Arca Swiss 8x10 arrives today! ;)
Hello and Michael, thanks for referring to my experience with the Flashpoint/Godox line of strobes. Also your work is well done. I wanted to let other members here know that when I am in studio then shutter speed has little to do with stopping action. I use my 645Z almost exclusively in studio for action or non action. For me medium format is a delicious look. Prior to using Godox/Flashpoint 600s I was using Einsteins exclusively. Paul's engineering for t:1 performance was great and presented a fantastic value. I've used Profoto, Elinchrom and Priolites as well. To my knowledge Priolite is the only brand offering HSS or more accurately Hypersync for Pentax. I was not happy with the Priolite Hotsync 1000 because of the banding in Hypersync mode.
So I tried the Godox AD600 line and was happy using them with my Pentax in studio and outdoors with my Canon gear. Any time ambient light is a factor the choices left are using a leaf shutter or HSS to freeze action. For dance we all try to capture the talent at the apex of their movement. As such they are often 'frozen' in time and that is when we attempt to take the shot. Outdoors I usually shoot at 1/2000th to freeze action using HSS. I have found the Flashpoint/Godox 600 line excellent. And their addition of higher power heads is a real plus. I currently own five of the Flashpoint 600 lights, five remote H600 heads and one 1200 head. I find their value exceptional.
I prefer to photograph dancers outside of the studio or stage. I find their movement in nature to be beautiful. Also when I shot two pro tango dancers in water I had to adjust my timing. You see when they reach their apex, where we normally try to catch them the water trail is gone! So I had to adjust my timing to snap just before their apex. Those shots were done in studio with Einsteins, as the Godox line was not yet released.
I also often use gobos with my strobes. In the desert shot using a gobo window really sucks the power out of a light. So having the option of converting two AD600s to one 1200ws light is a fantastic option. To date I know of no other manufacturer who offers this much flexibility. I heard a rumor that Godox is working on a trigger for Pentax. I will be one happy shooter when that happens! HSS on my MF rig will be a godsend! Again, everyone must pick the gear that works best for their client base. I have found what works well for me and my clients.
My site's recent dance imagery. (http://www.markkitaoka.com/conceptual/)
You can use highsync speed with the Pentax 645Z and D and the Godox AD360ii and AD600, using A Cactus V6ii trigger. Up to the cameras maximum shutter speed, I've used it with the 645D.
http://www.cactus-image.com
Thank you. Can this be used with strobes made by Godox?
Here are a few more light paintings.
(https://scontent.ford1-1.fna.fbcdn.net/v/t31.0-8/16402559_1352448791444323_1542143156443712131_o.jpg?oh=6602af5a4118a35fa64a4a56714cf4ea&oe=5908615F)
from a recent project in Indy.
Mesmerizing work Michael. I noticed your last two photos are slightly colder compared to your previous works.
Wow!+1.
Holy crap! What lens did you use? Fisheye corrected for distortion?
:) Here is a couple of NYC's "unimpossible":) From a walk in a city sometime last year, shot for portfolio use. C&C welcome
Contax, P+back.
BC
-CB the furniture shooter
(http://christopherbarrett.net/wp-content/uploads/2015/03/FurnitureBook_077-Edit.jpg)
Some Havana scenes.
Plenty more on my website if anyone is interested. (And in case anyone really needs to know, all shot with the IQ260 on either an Arca RM3Di or XF.)
Is there something you can't make beautiful and interesting, Joe? ;D
I have one of that street! It Villegas street which is my last name. But it was taken with a Fuji X100 didn't have a digital MF back then, and didn't take my film cameras.
(https://c2.staticflickr.com/6/5653/21638202159_8dd92bc013_k_d.jpg)
Other photos from that trip(vacation) to Cuba in 2015.
https://www.flickr.com/photos/32577294@N06/albums/72157656925267774/with/21638202159/
Lucky, you got inside the Capitol! I wish I could have.
It's currently under construction and there is a 8 foot tall fence around almost all of it. The angle above was the only angle you could get the whole building without seeing the fence.
off to Morocco tomorrow for a little fun. I managed to narrow my camera selection down to just these three... Phew!That looks like only a half-day's worth of film. How long will you be having fun?
(https://scontent.ford1-1.fna.fbcdn.net/v/t1.0-9/16603126_10210857823256683_9016648181792024494_n.jpg?oh=ec039e6f3178c2761e00f7c6653a9a33&oe=5905559F)
I think I'm allowed not to nitpick: That's gorgeous Michael.+1.
Sent from my iPhone using Tapatalk
I think I'm allowed not to nitpick: That's gorgeous Michael.
Sent from my iPhone using Tapatalk
I am thinking to print a book / start a series of books on sculptural nudes. What is the absolute best method of warmtone BW book printing these days?
Got inspired to work on my portfolio. Used rear projection.
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/_AM10390_zpsda0uabur.jpg)
Actually Dedo makes an adapter for 35mm slides for their lens thingie that goes in front of the light. I think it will work well with strobes if I ever get around to building an adapter for it.
Joe. Profoto used to make a projection spotlight unit that had a projection lens on it and had a stage where masking tools and a slide holder piece would go. Similar to the Dedo in effect but much larger. It was probably 8" sq and 24" long. Great for detail lighting or projection of images via flash.
Joe. Profoto used to make a projection spotlight unit that had a projection lens on it and had a stage where masking tools and a slide holder piece would go. Similar to the Dedo in effect but much larger. It was probably 8" sq and 24" long. Great for detail lighting or projection of images via flash.
off to Morocco tomorrow for a little fun. I managed to narrow my camera selection down to just these three... Phew!
(https://scontent.ford1-1.fna.fbcdn.net/v/t1.0-9/16603126_10210857823256683_9016648181792024494_n.jpg?oh=ec039e6f3178c2761e00f7c6653a9a33&oe=5905559F)
Just made a serie for Sonic Acts festival 2017...
That first shot is terrific.
Craig, those look great. Impressive what you can do in a tiny space! There's only a couple things I might have done differently... I often like to add a little vignetting to increase depth and I think that may help these shots. Also, I wonder if you increase the hilight brightness in the clouds if that will make the view a little more believable?
#nitpicking
-CB
Really lovely project we recently shot in D.C.
CB
My local market had some amazing looking figs last week and I just could not help myself. Plus I like bourbon and cream soda!
Fig & Bourbon Fizz.
Nice work! What you use as a backlight? To recreate sunlight?
A bare flashbulb? A Fresnel?
Thanks, glad you like it.
Actually I wish I had a fresnel strobe. In the future (not this year) I may have Bacht in Germany make me a dedicated 2400 w/s fresnel; the light is just so nice from those. It would be awesome if they could make me one with an adapter so I could use it on Proforo and Broncolor packs, although I doing this is possible.
Anyway, you really need two lights to do direct sunlight right. One is some sort of hard light, in this case the Profoto Narrow Beam, to create the harshness. (Now the Narrow Beam has not so good shadow quality, so it was gelled with 1/8 diffusion to clean it up a bit along with Lee Wheat to add some color.)
Now when we are outside, not only does the harshness of the sun come down, but the sunlight is reflecting off of the sky as well, giving a bit of softness too. So I usually place a soft box near, but above, the hard light to simulate this.
Here the hard light is left behind set and the soft box is directly behind the set.
There is also a small soft box on the left going through a large diffusion panel and a very very very light ceiling bounce (that I usually gel with a 2 ND to make it even dimmer) for overall fill.
Spending all of next week doing splash work; should be fun.
flowers in the studio on the new 810. Fuji Acros / Nikkor 450mm @ f/22 This is the first time I've shot Acros. I dig it.
Thanks!
Yeah, a Fresnel is great for recreating direct sunlight, and the light is beautiful on almost everything. I'm a cinematographer so I use them all the time. But don't have them on strobes, and it's been hard for me to recreate direct sunlight on studio with strobes, that's why I ask. And for stills I prefer to use strobes rather than continuos lighting.
I'll have a look at the Narrow beam, I don't have Profoto, I use Bowens and Visatec for studio monolights, and Godox AD360II and AD600 for location.
Shot last year in Sonoma.
more flowers in the studio. Not even close to MF.
Made one hell of mess with this one. Milk is surprisingly more sticky then you would think.
Milk can do many things, like this model shot from Simona Smrckova (https://www.facebook.com/193391417367686/photos/a.193432640696897.45030.193391417367686/1092895794083906/?type=1&theater)!
My wife likes gin. I... just... can't.
It's possible you're drinking the wrong gin and not all tonics are equal. When I still drank alcohol G&T was the weapon of choice. Tanqueray (spelling?) was lovely but Gordons was good and of course it has to be strong.
The terrible stuff we got in Ghana in teh 70's was pretty raw - I visited the factory once and saw the drums of alcohol they used. I didn't see the drums of flavouring :)
contax and p21+
(http://russellrutherford.com/santa_monica_pier_1000_p21_contax.jpg)
BC
To each their own. I can drink Tequila like water (not sure if that is a good thing), but I know quite a few who hate the stuff.
Raises hand :)
Is this a professional photographers thread, or professional alchoholics thread? ;)
Is this a professional photographers thread, or professional alchoholics thread? ;)
I tried some of these expensive boutique gins in the UK albeit some years ago and in my view most were change for the sake of change rather than an improvement but each to his and her own.
Black camera
BC
Last campaign, 3 more to come
(https://c1.staticflickr.com/3/2811/33876771262_e60d668b5b_b.jpg) (https://flic.kr/p/TBziR9)
Grandma and Grandpa must be giants, they're so tall ;)!
(https://c1.staticflickr.com/3/2916/33648853490_56f0f88df0_b.jpg) (https://flic.kr/p/TBziR9)
Where did momma's legs go :)?
A quick video from ArtExpo. "Ballerina Dream".
https://www.facebook.com/michael.ezra.art.studio/videos/10155332964056522
I've been sequestered in my sanctuary for days on end pretending that the commercial work doesn't exist, focusing my attention on the minute minutiae of things botanical...It really is amazing the (lack of) DoF and blur of the larger format, and how smooth the image goes from in focus to out, and something that I never really thought about until working in digital so long.
(http://christopherbarrett.net/wp-content/uploads/2017/05/IMG_3689.jpg)
Arca Swiss F Metric 8x10 / Schneider 305mm G-Claron / Fuji Acros / PyrocatMC and a pile of strobe... the overhead softbox was driven by a Profoto D4 4800 at full power. Boom!
(http://christopherbarrett.net/wp-content/uploads/2017/05/Orchid.jpg)
Michael
Lovely work and great presentation. Any longevity issues mounting to aluminium?
Shaun
Really lovely project we recently shot in D.C.
(http://christopherbarrett.net/wp-content/uploads/2017/03/161202_002.jpg)
(http://christopherbarrett.net/wp-content/uploads/2017/03/161202_006.jpg)
(http://christopherbarrett.net/wp-content/uploads/2017/03/161202_008.jpg)
(http://christopherbarrett.net/wp-content/uploads/2017/03/161202_016.jpg)
CB
(http://russellrutherford.com/final_flat_basketball_900.jpg)
(http://russellrutherford.com/final_final1_tennis_900.jpg)
BC
I can only agree that these seem amazing images and I assume are part of some promotional work.
If BC was very generous he'd outline how he created the images which must have taken a long time to shoot and then process.
Mike
(http://russellrutherford.com/final_flat_basketball_900.jpg)
(http://russellrutherford.com/final_final1_tennis_900.jpg)
BC
(http://michaelezra.com/wp-content/uploads/MAF_A224.jpg)
Thank you Eric! The curves are all inside;)
I think you captured the true feeling of the environment. I would open up the shadows of the 3rd & 4th images ever so slightly.
I only wish I could - I hope it's a great success for you!Thank you Mike:)
A sort-of recent sculptural nude.
Exceptional image!+1.
Thanks for sharing! Some nice pictures.Me too. I have always loved seeing your work.
Nice to see you again.
Best regards
Erik
Hey Joe,
There's a really subtle reflection in the watch crystal that diminishes the contrast of the internal mechanics. I did a quick mask of the face and deepened the shadows which makes everything pop a bit more. Have a look see...
my 2 cents
CB
Personal message to all the Big Pros:
Since this thread (version 1) first started, this is one that I have always thoroughly enjoyed. Being an amateur myself, I never wanted to put in my two cents when the Pros were discussing things.
But I've decided it's time to give a big Thank You to Simon, Bcooter, Kirk, Chris Barrett, Mr. Smith, and many others who have not only showed amazing stuff over and over again, but have been willing to share so much information about what they do and how they do it.
Perhaps best of all is the fact that while working for clients, you all seem to really enjoy what you are doing and continuously demonstrate imagination, creativity, and all that good stuff.
So again: Thank you all!
Eric M.
Almost five years later, and I'll say the same thing again.
Hear Hear!!
Kevin in CT
A few from recent interior design shoots.
How do you fight the mixed lighting?
Haven't tried Oloneo, but doing HDR for each lightsource would multiply number of HDR brackets... My last project required processing of 33 GB of overall image data, while delivering only 11 final images.
Joe, that watch is outstanding!! I just came across this thread guys so I need to go back and check out the other great shots that are sure to be in there!!
Kevin in CT
Joe, great to hear from you!:)
All these images were made using only the available light and the exiting light sources in the interior - I did not add any lighting during capture in these sessions. Naturally, lifting up the shadows in HDR would flatten the look, and that is what is happening, although I aimed to minimize that effect while trying maintain natural rendering.
I also fix the mixed lighting in post with multi-layers, and was curious if anyone had an insight whether Oloneo is worth the effort in comparison. Supposedly one can adjust the white balance of every light source but that is at the expense of significantly more input images.
Here is a few more. The vanity shot required me to get inside that bathtub along with a tripod, never had to do that for studio nudes:)
The problem with relying on already existing light when shooting interiors is that, usually, the light is very flat. Remember, interiors are designed to be practical and comfortable, not to photograph well.
I am simply not satisfied with the noise level of D800e sensor, as I like a cleaner image. I am using HDR to expand the dynamic range of the capture, improve resolution and color rendition in extreme shadows and highlights and to reduce noise in shadows, so the resulting image is perfectly *clean*, without any noise reduction smudging. I also wouldn't like to use HDR to create haloed and over-processed images:)
Generally, I do see that the localized color corrections (in the raw processor or Photoshop) work to compensate for the inconsistencies of the interior lighting or that with the ambient light temperature and this does feel as a good-enough method, but I was contemplating on a "perfect" method to be able to really control the white balance of any light source, in isolation. Oloneo PhotoEngine claims to give this capability, though I am afraid at significantly greater effort during capture - the scene would need to be captured for each light source and that is multiplied by the HDR brackets. I suppose it is practical if anyone pays for this effort:)
You are right, HRD is heavily misused, but the way I look at it - it is just placing a better camera in your hands, simply widening its dynamic range, many times.
For HDR image tonemapping is certainly not a Swiss army knife and exposure blending can produce a more refined rendering with smaller artifacts.
There are some very prominent architectural photographers who use no supplementary lighting with excellent results. However, they will wait for the time of day when the ambient lighting is optimum and may spend considerable time controlling and shaping the ambient lighting. Also, they may often spend hours doing post processing for each image (or pay someone else to do that for them).
Sure, but what if it is cloudy?
Of course sunlight comes through the windows and can increase the contrast, but that does not always happen. More often then not, the weather just does not cooperate, or the windows face north. Instead of direct sunlight, you get indirect, which is just as flat and shadowless as ambient interior light. Or, lets not forget, that direct sunlight is usually so strong it drowns out all the nuance of the interior ambient light, which produces almost just as flat an image as without it.
So should someone hope to be lucky and relish when he/she is, but accept that more often then not he/she won't be? That does not sound very proactive to me, nor something to build a reputation on.
I look at so many interior images nowadays, that rely solely on ambient light, and they are simply flat and dead. Yes, they are exposed well with nothing over or under, but that does not make a great image. Light and shadow and contrast does, and if your light is flat there ain't nothing you can do to fix it.
Although it may be part of the style of some photographers, I admittedly disagree and oppose telling those whom are just starting out to rely on it and use it as a substitution for lighting.
Really, it is beyond my comprehension. No serious (table top) still life photographer would ever agree that one could survive on ambient light alone. However, many (large scale) still life photographers, aka interior photographers, somehow think you can get away with only using ambient light.
Now, getting my feet wet with the interior work, I am a bit with the mixed feelings. I can see exactly how and where I could enhance the appearance with additional lighting, but I sense a possibility of a conflict with the interior that has been designed. I beleive that lighting inherently is a part of the interior design and redesigning it may not be a function of the photographer. It is likely not as black and white as I put it, but this is on my mind, frankly.. I understand that photographing someone else's work ultimately requires respect to their intent. I am looking to find that fine balance where all this falls in place, so the lighting enhancements would be fitting naturally.
Sure, but what if it is cloudy?
Of course sunlight comes through the windows and can increase the contrast, but that does not always happen. More often then not, the weather just does not cooperate, or the windows face north. Instead of direct sunlight, you get indirect, which is just as flat and shadowless as ambient interior light. Or, lets not forget, that direct sunlight is usually so strong it drowns out all the nuance of the interior ambient light, which produces almost just as flat an image as without it.
So should someone hope to be lucky and relish when he/she is, but accept that more often then not he/she won't be? That does not sound very proactive to me, nor something to build a reputation on.
I look at so many interior images nowadays, that rely solely on ambient light, and they are simply flat and dead. Yes, they are exposed well with nothing over or under, but that does not make a great image. Light and shadow and contrast does, and if your light is flat there ain't nothing you can do to fix it.
Although it may be part of the style of some photographers, I admittedly disagree and oppose telling those whom are just starting out to rely on it and use it as a substitution for lighting.
Really, it is beyond my comprehension. No serious (table top) still life photographer would ever agree that one could survive on ambient light alone. However, many (large scale) still life photographers, aka interior photographers, somehow think you can get away with only using ambient light.
645z + magic talent
(https://michaelezra.com/wp-content/uploads/BZAT_A462_V2.jpg)
Hi Joe,
I don't totally agree with you on this.
We make decisions on whether to use additional lighting or not quite often dependant on the space and or the client.
When I work in Australia (where I'm originally from) I find myself using much less lighting as the Architecture has been designed around 'controlling' natural light, heat gain etc etc. (as opposed to BC, where it's about controlling rain...)
The natural light in Australia, most definitely doesn't make for a flat image.
I'd imagine if I was working in California, it would be much the same.
I also find that the lighting kits come out less often with an Architect and more often when I'm working with an interior design firm.
I think it's partly due to the subject matter - are we interested in the atmosphere or experience of the space (as it's been designed) or are we interested in the stuff within it.
I think we should all be capable of working with and without - after all, we're representing someone elses work in our imagery.
Just my two bob.
Andrew
Joe, love the bottle image!
Here is one more with time dilation:)This is really fun! Nice
Mamiya ZD + alien
(https://michaelezra.com/wp-content/uploads/VNX_A104_web-animation.gif)
Very cool stuff Michael!+1.
Very cool stuff Michael!Agree, I can imagine the work that is in it. How is this presented to an audience, though? Just wondering.
One more:)This serie is worth pushing it Michael! I find to be a much more interesting artistic approach to develop
(https://michaelezra.com/wp-content/uploads/VNX_A096_V1_web_animation.gif)
In terms of presentation, I am thinking large size prints and accompanying video
This serie is worth pushing it Michael! I find to be a much more interesting artistic approach to develop
And truly could be of interest for top art galleries.
I say it very seriously.
You've got something big.
Thank you Fred!:) I am curious what do you feel is most compelling here - concept, animated presentation or stills?
Michael,Absolutly agree with Andrew.
Out of all your work I've seen, I personally find these the most engaging.
At a gallery level you could have both sitting side by side.
Push this!
Andrew
Thank you Fred!:) I am curious what do you feel is most compelling here - concept, animated presentation or stills?Still for sure in big prints, and definatly dev the animation or video-art. It
So be it! I temporarily removed the content until the project completion & launch. There is more fun stuff coming!I'm glad I was just in time to have a glimpse at those, agree they're something "big". Good decision to remove them here. See: I came back to have a look after some days - so obviously your pictures stick in my head - not happening a lot of times ...
Love the golden feel of those shots Joe. Ho did you light them?
Tomorrow I will have an opening at the Museum of Russian Art in Jersey City. Stop by!Great!! Good vernissage Michael.
https://www.youtube.com/watch?v=OPxyhGyjYCU
...If you would like a complementary VIP ticket, let me know;)
Skies in Italy
Thank you guys.
Joe, I haven't tried bringing it there:)
I am curious if such photos require a property release for sale of prints, publication, etc.
Really you don't need a property release ever to use an image of a building. Only people have a right to privacy/publicity and buildings can not be copyrighted, or trademarked, such that it prevents the images from being used. (Architectural drawings can be copyrighted, but physical buildings can not.)
Now anyone can sure anyone for anything, and having a property release certainly puts people (gallerists, editors, advertisers) at ease. However, no court has ever upheld a suit against a photographer over usage of a building image in the USA. Of course defending yourself will cost money.
I would say any newsworthy publication or fine art usage would be fine and should not give you cause to worry. Advertising usage, I would be a little more careful about.
I believe that is that is the case in the US. However, it is not so in some other countries. I seem to recall that Italy and France, for example, are more restrictive about this that you actually need government permission to use photos of some buildings. Perhaps someone from Europe can clarify.
Also, while there appears to be no specific law in the US requiring a property release, there is also the matter of copyright. In a very limited number of cases, you would need the permission of the architect (or whoever holds the copyright if the architect does not). However, this only applies to buildings built after 12/1/90 that cannot be viewed from a public space.
There might also be an issue with a few buildings that are trademarks, such as the Transamerica pyramid, though I think that only applies when the building is clearly the subject of the photo.
Really you don't need a property release ever to use an image of a building...
It seems more complicated than that, when it comes to commercial use:
https://helpx.adobe.com/stock/contributor/help/property-release.html
New York 9/11
The account of loss and strength filling the air of New York at that time.
(https://michaelezra.com/wp-content/uploads/NYC911_P.007.jpg)
https://michaelezra.com/portfolios/new-york-911
https://youtu.be/kOiQsznsYr8
Hmm... I got a sexy new pair of Giro SPD's that are still in the box, hmm...
Go for it! It's not just the fashion shooters that can bring sexy back on this forum.
Absolutely! Foot and shoe fetichism has been around forever; let's all enjoy your jollies!
:-)
I remember the Formal Portrait of my brother and myself, ages 11 and 16. An exercise in looking as unlike oneself as possible. We were not Forma Children. :)
As always great work. It is your fault that made me switch from Leica back to Med. Format.... but now I have to perform ...
Well, except that third (black?) sample. That one looks like a great abstract. :-/
... did you use a polarising filter?
Seattle is about to demolish the waterfront freeway....
Tuscany 2017; it was a great first trip to Italy, with endless roads winding around the beautiful hills and villages.
Portfolio shoot; D800e (Z7 had a hard time focusing in the dim studio)
Portfolio shoot; D800e (Z7 had a hard time focusing in the dim studio)
I suspect you know this, but if you don’t.... turning D8 “Apply settings to live view” helps focusing tremendously when using strobes.
Very interesting retouch gif!
211 leather samples x 3 deliverables each. All I could think of was Joe Kitchen's Arnold Newman quote:
"Photography is one percent inspiration and 99 percentmoving furniturecleaning and blowing dust off."
Well, that and patent leather is a royal pain to photograph...
Dave
(http://www.davechewphotography.com//temp_images/2018/CLI_Cafe_CAFECY-9806_1052.jpg)
(http://www.davechewphotography.com//temp_images/2018/CLI_Cafe_CAFECY-9865_1078.jpg)
(http://www.davechewphotography.com//temp_images/2018/CLI_Patent_99-2_0899.jpg)
(http://www.davechewphotography.com//temp_images/2018/CLI_Perlato_12-12_0481.jpg)
(http://www.davechewphotography.com//temp_images/2018/CLI_Savannah_SAV-9830_0552.jpg)
(http://www.davechewphotography.com//temp_images/2018/CLI_Veneto_2-56_0614.jpg)
(http://www.davechewphotography.com//temp_images/2018/CLI_Vernazza_59-48_0782.jpg)
Here are two more.
Here are two more.
Very nice, I can see why you would like to see them printed and hung. I'd print one for myself. Any scope to sell prints to the new owners?
Tony
But, who owns the copyright?
In many legal systems, copyright belongs to the party who commissioned the work (the law firm) unless the photographer negotiated differently.
Roger
I am far too busy with my commercial work to really devote effort to it as well.Joe, what can be better:) Congrats!
9 subjects, 9 ethnic origins.James, gorgeous picture!:) The tone of her skin, smoothness, lighting, lens rendering and her connection.
And a couple with her from 19 years ago, the days of film:
(http://timelessme.com/wp-content/uploads/2019/04/Marina_Lena_1.8_8x10-web.jpg)
(http://timelessme.com/wp-content/uploads/2019/04/Marina_Lena_1.31_8x10-web.jpg)
Why are bcooter's images blocked? All I see is a blank rectangle with a "?" inside.They show just fine to me. Problem with your browser?
Why are bcooter's images blocked? All I see is a blank rectangle with a "?" inside.
I have tried Safari, Google and Firefox (all latest versions)- still no images for bcooter.
Long time since I last contributed here... Some still frames from Red Helium motion clips. I really enjoy the variety to sometimes work with continous lights and a motion camera. Some more over here: https://salve-magazine.de/eyecatcher/
No that's not true. Long before the subscription based site, something happened to my postings. Chris said it was from their end, It could have been me hitting the wrong button.
But for reference I've only personally take down 2 to 5 images and only because some people not nice was wrote hateful things about the subjects I photographed in reply. So I removed those as the subjects didn't deserve this and at worst it could hurt their family, friends and income.
Going from the start, with Michael I never would or did delete anything. He got it and took care of it.
I really liked Michael, miss him though we had our moments we would speak directly and it always worked it out to the positive.
Going forward I wish the best for Josh.
I do view the discussion forum from time to time, but became tired of dr, camera/sensor centric babble. I just didn't have the will or time to become involved.
In fact there are about 7 prolific posters that I never have to read because I am positive what they are going to say. One will post about their camera is the best, the next will hope that a high end camera maker goes bust. Why would anybody waste their time on that? Especially I know a few that have never used what they think is great or bad.
For my studios we are still working, producing large projects, though once the politics on this forum started, I could see a turn. The moderators did their best to hold it down, but there was no stopping it.
Personally we are consumed and continue to place our business ahead of other issues. I recently lost both parents that took time to manage, more than I ever thought would happen and had to hire a groups of professionals to handle it as we put our work first, even though our hearts were aching.
I loved this forum, found it to be a few minutes to get my head out of my work, but as stated have found less joy in it, not because of Josh, but the postings.
I respect the people that post, even if I do not agree, but would love to see more art and less talk about sensors, pixels, brands, or whatever doesn't really interest me.
I love the imagery Ulf just posted and the expert advice he gives on lighting and equipment. Years ago there were 30 serious professionals, asking questions, answering questions and I would have thought producing such incredible stills from a movie camera people would line up writing way to go, great imagery, how did you do this with a RED camera, but when I looked it was silent.
I appreciate the people like Ulf, and the few others that share with imagery they've produced.
I used to try to always show an image that made a point, but it becomes more difficult.
My last little rant here is give Josh a break. He lost his Dad, I know the feeling, many do and it's horrible. But he is trying his best to bring art into science. He''s not doing what his predecessor did and line himself up with every camera maker. He trying to make it unique and finding his way.
I don't know Josh, never had communication with him, but I have a pretty good idea what he's up against, so rather than diss each other, talk politics, scream brand worship, how about following his lead and make this a better place.
In fact with permission I'd be glad to pay to post. Josh can set the price.
IMO
BC
(http://www.russellrutherford.com/blonde_on_set_black_jeans.jpg)
I recently lost both parents that took time to manage, more than I ever thought would happen and had to hire a groups of professionals to handle it as we put our work first, even though our hearts were aching.
No that's not true. Long before the subscription based site, something happened to my postings. Chris said it was from their end, It could have been me hitting the wrong button.
But for reference I've only personally take down 2 to 5 images and only because some people not nice was wrote hateful things about the subjects I photographed in reply. So I removed those as the subjects didn't deserve this and at worst it could hurt their family, friends and income.
Going from the start, with Michael I never would or did delete anything. He got it and took care of it.
I really liked Michael, miss him though we had our moments we would speak directly and it always worked it out to the positive.
Going forward I wish the best for Josh.
I do view the discussion forum from time to time, but became tired of dr, camera/sensor centric babble. I just didn't have the will or time to become involved.
In fact there are about 7 prolific posters that I never have to read because I am positive what they are going to say. One will post about their camera is the best, the next will hope that a high end camera maker goes bust. Why would anybody waste their time on that? Especially I know a few that have never used what they think is great or bad.
For my studios we are still working, producing large projects, though once the politics on this forum started, I could see a turn. The moderators did their best to hold it down, but there was no stopping it.
Personally we are consumed and continue to place our business ahead of other issues. I recently lost both parents that took time to manage, more than I ever thought would happen and had to hire a groups of professionals to handle it as we put our work first, even though our hearts were aching.
I loved this forum, found it to be a few minutes to get my head out of my work, but as stated have found less joy in it, not because of Josh, but the postings.
I respect the people that post, even if I do not agree, but would love to see more art and less talk about sensors, pixels, brands, or whatever doesn't really interest me.
I love the imagery Ulf just posted and the expert advice he gives on lighting and equipment. Years ago there were 30 serious professionals, asking questions, answering questions and I would have thought producing such incredible stills from a movie camera people would line up writing way to go, great imagery, how did you do this with a RED camera, but when I looked it was silent.
I appreciate the people like Ulf, and the few others that share with imagery they've produced.
I used to try to always show an image that made a point, but it becomes more difficult.
My last little rant here is give Josh a break. He lost his Dad, I know the feeling, many do and it's horrible. But he is trying his best to bring art into science. He''s not doing what his predecessor did and line himself up with every camera maker. He trying to make it unique and finding his way.
I don't know Josh, never had communication with him, but I have a pretty good idea what he's up against, so rather than diss each other, talk politics, scream brand worship, how about following his lead and make this a better place.
In fact with permission I'd be glad to pay to post. Josh can set the price.
IMO
BC
(http://www.russellrutherford.com/blonde_on_set_black_jeans.jpg)
Thank you for posting B. Cooter. I have always enjoyed your postings and images. Thanks for posting some good common sense in this post. You are your correct in your description of this forum. I don't know you but wish you well concerning your loss.
For my studios we are still working, producing large projects, though once the politics on this forum started, I could see a turn. The moderators did their best to hold it down, but there was no stopping it.
That isn't accurate. When political discussion got out of hand, I banned it and it stopped. I have recently rescinded that ban and, I am interested to note, while the topic has been resurrected in several threads, and while generally (as with all political discussions) the heat/light ratio is regrettable, I have not (yet) been forced to suspend anyone's ability to post.
Jeremy
...For my studios we are still working, producing large projects, though once the politics on this forum started, I could see a turn. The moderators did their best to hold it down, but there was no stopping it...
There are contributors on LuLa who I used to respect but sadly that respect is long gone. I simply can't separate the person and their political beliefs from the photographer. I admit that this could be my problem but that's how it is. I realise I've put myself on the line by expressing my thoughts but I've never been one to mince my words.
I'll live with it.
That's fair enough.
Fortunately, I don't share that view; if I did, I would instantly lose people like HC-B, Ronis, Doisneau, not to mention pretty much all of the people who became Magnum. Their political ideals are almost diametrically opposed to mine. Frank, Leiter, Faurer, Hass - I don't think there was an non-socialist thinker amongst them. For me, as I don't have to marry them, it matters not. What they have supersedes all that in my relationship with their art.
:-)
That's fair enough.
Fortunately, I don't share that view; if I did, I would instantly lose people like HC-B, Ronis, Doisneau, not to mention pretty much all of the people who became Magnum. Their political ideals are almost diametrically opposed to mine. Frank, Leiter, Faurer, Hass - I don't think there was an non-socialist thinker amongst them. For me, as I don't have to marry them, it matters not. What they have supersedes all that in my relationship with their art.
:-)
Shot on 645z, recent edit with painterly/cinematic look..
Quite a haunting look.
If not quite blue enough.
:-)
My 2c on the keyword "socialism":
Being a 100% not political and not following/reading any political discussions on lula, all I can say as a former immigrant from the former Soviet Union, living there until the age of 21 - socialism is a pipe dream that will inevitably lead to ruin due to rotten characteristics present in human nature. My grandfather who was idealistically pursuing communism all his life, after coming to the US with his family in 1996, said that it was actually here. America, the way he witnessed it, was far closer to communism than the Soviet Union ever was.
Pictures speak 1000s words, so let's see some!
Yes; I enjoy your work, Michael. Keep that kind of comment to the Coffee Corner, please.
Jeremy
Here are some images that I really liked from a recent shoot. By the looks of the first three images, you may think this project is rather secluded but is actually in a well populated shore point. The high dunes and the fact it is the closest house to the beach really allowed for a remote feel in some of the images.
For the first shot, we tried one without the car but I felt the image lost something. Perhaps it was too much empty road or a lesser humane feeling. The car just feels so natural and adds a connection to civilization.
In other news, I was just able to pick up an used SK 28mm XL Super Digitar. I am waiting patiently for a new back plate to arrive today so test it out.
Nice images as usual Joe. How many times did you move the cane back chair in the foreground of the family room image?😎
Thanks Guys. Yes, the chair took a good amount of finagling to get right.
You don't think it's distracting being so prominent in the foreground ?
Maybe it's just Craig's bringing it up, power of suggestion and all that.
Very nice work on all the images.
Thanks Guys. Yes, the chair took a good amount of finagling to get right.
Maybe. I went back and forth in whether or not to keep it. We decided on keeping it, but I still dont know if that was the right choice.
Here are some images that I really liked from a recent shoot. By the looks of the first three images, you may think this project is rather secluded but is actually in a well populated shore point. The high dunes and the fact it is the closest house to the beach really allowed for a remote feel in some of the images.
For the first shot, we tried one without the car but I felt the image lost something. Perhaps it was too much empty road or a lesser humane feeling. The car just feels so natural and adds a connection to civilization.
In other news, I was just able to pick up an used SK 28mm XL Super Digitar. I am waiting patiently for a new back plate to arrive today so test it out.
Been there, done that...more times than I want to admit.
Positioning that ceiling fan was another pain in the ...
Where oh where do I put the chair....
That's such a clean image. I'm assuming you light one side from the other and then comp images, working from one end to the other as well. Window plates look like you went to the perfect setting and shot separately.
Impressive !
I will be showing abstract architectural images at the International Art Festival; Opening is tonight 6-9 PM, 23 Warren Street, New York, NY One Art Space GalleryCongratulations. Wish I could attend but being where I m has its some drawbacks. Would love to see your selections, will you be posting it somewhere on the web?
This is a group show of 42 American & international artists (I am also one of the organizers). I will be at the gallery all days of the exhibition. Stop by!
Hi Shawn, thank you. I posted a few samples from the the Eikos series on my website: https://michaelezra.com/portfolios/eikosThank you Michael. Also love your triptychs, Sculptural,... looking forward to your posts as always.
That's great work, Joe. And I love the flower still lifes on your website.
I'm sure you've mentioned it already, but I'm new here and missed it: which tech camera are you using with your IQ back?
A recent landscape.Really nice!
Really nice!
Very nice, Joe.
I'll bet it looks very much the same now.
The last one has a particular charm.