Luminous Landscape Forum
Equipment & Techniques => Digital Cameras & Shooting Techniques => Topic started by: Chris Barrett on April 12, 2015, 06:03:35 pm
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These days I'm mostly shooting on a Sony A7r. I also work with a Phase One IQ 260, RED Epic, Black Magic Pocket Cine Camera and just for fun a 'Blad 501CM, Leica CL & Chamonix 4x10. I'm not married to any format or medium and just want a place people can share work without worrying about what goes where.
This is a job that came out of post production about 5 minutes ago. All shot on the A7r with either Canon Tilt Shifts or using the Arca M2 and MF glass. As always, I'm happy to answer any technical questions...
CB
(http://christopherbarrett.net/forum_images/Flexera/150301_002.jpg)
(http://christopherbarrett.net/forum_images/Flexera/150301_004.jpg)
(http://christopherbarrett.net/forum_images/Flexera/150301_006.jpg)
(http://christopherbarrett.net/forum_images/Flexera/150301_009.jpg)
(http://christopherbarrett.net/forum_images/Flexera/150301_008.jpg)
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These days I'm mostly shooting on a Sony A7r. I also work with a Phase One IQ 260, RED Epic, Black Magic Pocket Cine Camera and just for fun a 'Blad 501CM, Leica CL & Chamonix 4x10. I'm not married to any format or medium and just want a place people can share work without worrying about what goes where.
This is a job that came out of post production about 5 minutes ago. All shot on the A7r with either Canon Tilt Shifts or using the Arca M2 and MF glass. As always, I'm happy to answer any technical questions...
CB
(http://christopherbarrett.net/forum_images/Flexera/150301_002.jpg)
(http://christopherbarrett.net/forum_images/Flexera/150301_004.jpg)
(http://christopherbarrett.net/forum_images/Flexera/150301_006.jpg)
(http://christopherbarrett.net/forum_images/Flexera/150301_009.jpg)
(http://christopherbarrett.net/forum_images/Flexera/150301_008.jpg)
Really nice!
What ISO are you working at with the A7r?
Also, I know that this is a subject touched on in the past, in the second image the board room is skewed blue by what I assume to be sunlight (although I do notice the plexi is somewhat blue/green in design). I like this look, but find that with many of my clients, they just do not except it. How do you explain this to clients so that they not only except it but also respect your vision?
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Actually in both of the first two. That's the actual color of that glass wall, not daylight contamination, so the architects will be quite happy with that color. Hmm, maybe I should have retouched it to match in the conference room shot. I usually stick to 100 on the A7r. I don't ever find myself needing more speed. The D1's have plenty punch at that ISO and we often find ourselves dialing them down. I reckon I ought to test out it's other ISO's tho!
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While not my type of photography, the images are very nice!
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Beautiful shots, nice compositions.
Alan
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Keith, I would love this exact thread in the main forum headings, so we can all get straight at Pro work without all the format war nonsense.
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I'm not married to any format or medium and just want a place people can share work without worrying about what goes where.
CB
Tools to get the job done. A good mental approach I think.
Thanks for sharing Chris. Elegant and simple compositions that are engaging to look at - as always.
Andrew
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Hi,
Lovely images, and thanks for starting a thread about professional works.
Best regards
Erik
Keith, I would love this exact thread in the main forum headings, so we can all get straight at Pro work without all the format war nonsense.
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My positive vote for these ideas!
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Brilliantly executed.
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Yep, this is a good idea. And, as usual, great work Chris.
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Hey Chris, great work as usual.
I have a technical question:
When using HDR to create an interior, is there a technique that allows you to show a blurred person in the image?
My clients ask me to have blurred folks in my interior images from time to time, and when using flash I try to place that person in an area that is lit
with ambient, but sometimes I elect to use HDR and no flash, and am unsure of how to create the blurred person effect in those situations.
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... how to create the blurred person effect...
Longish shutter speed? Something between 1/4 and 1/30, depending on distance and speed.
!/8:
(https://farm8.staticflickr.com/7381/16212467759_c7d3e9652e_c.jpg) (https://flic.kr/p/qGD8Qc)
Peru Mall 1 (https://flic.kr/p/qGD8Qc) by Slobodan Blagojevic (https://www.flickr.com/people/20843597@N05/), on Flickr
1/5:
(https://farm9.staticflickr.com/8599/16211062608_896d222977_c.jpg) (https://flic.kr/p/qGvW8s)
Lakeview Mall 3 (https://flic.kr/p/qGvW8s) by Slobodan Blagojevic (https://www.flickr.com/people/20843597@N05/), on Flickr
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Thanks for your response. I find that when shooting HDR, I'll have one exposure that has the correct amount of blurring, while the other images will have too much or too little.
Of course, when you put them together using Photomatix or HDR Effex Pro 2, then you get some really interesting results when there is a moving person in the original photos.
Interesting, but not useable.
Your images look good however. Were they HDR?
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... Your images look good however. Were they HDR?
Yes. When using Photoshop HDR (for transfer to LR as 32-bit), there is an option to use just one image (of three or more) for ghost control. You still use all three or more for 32-bit purposes.
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Jens, here's my typical process:
First I set up and light the shot and shoot it with no people.
Then we figure out where we'd want people, place them (light them if necessary) and shoot the additional exposures.
Blurring: Sometimes it's easy to get a great blur, other times it just doesn't seem to work. If you're using strobe, and that's falling on the person you're trying to blur, then you get this staccato blur that I think sucks. Also, if the person is moving in front of a bright window, then the window will blow right through them... and that sucks. So, if I have strobe on them, or a bright window background, I have them remain still and I blur them in post with motion blur. This allows a huge degree of control.
In retouching, I complete all the work (including HDR blending) on the images with no people. I never use an HDR output straight from Photomatix as my final file, because I've never seen an acceptable output from the program. I always composite the HDR output into my base N exposure file and just blend in the blow out areas. This gives me a more realistic looking tonal range and allows for easier compositing of people, still or moving.
So, the short of it is... I keep people out of my HDR input files and just drop them in manually later.
CB
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Nice Thread!
I'll add.
A recent interior, a small Motorhome based on a Mercedes Sprinter chassis shot inside a dirty factory.
Inferior equipment, Alien Bees, Canon 6d, Sigma 12-24....
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Nice Thread!
I'll add.
A recent interior, a small Motorhome based on a Mercedes Sprinter chassis shot inside a dirty factory.
Inferior equipment, Alien Bees, Canon 6d, Sigma 12-24....
Nice lighting coming the window, btw the Sigma 12-24 is a nice lens.
So how long did you take you to get this thing to Tuscany and find that perfect hilltop vineyard? ;)
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Nice lighting coming the window, btw the Sigma 12-24 is a nice lens.
So how long did you take you to get this thing to Tuscany and find that perfect hilltop vineyard? ;)
That Sigma is my most used lens. It's quite sharp and the corners are good if carefully focused and stopped down to f11. I am considering the new 11-24 to replace it.
Tuscany...why just a flick and a click and you are there.
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Here's a couple of photographs that follow Chris' work flow almost to the tee.
All are educational buildings and busy.
When trying to show the Architecture of hallways, I would set up prior to recess or lunch, shoot my base photograph empty then when class was out work with the students as needed in specific locations - make it as quick as possible as they'd been concentrating hard prior and needed a mental break.
It adds work in post, but by mixing with equivalent exposures and or using lights I find it allows for enough control.
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Andrew, can you talk about your post-process in the first? Well it looks like they may all be similar, but I'm most interested in the first. The tonal range does look artificial to me, but still I really like this image. I think there's a crispness and richness to it that is more successful than it would be with a more natural tonal range. Also, do you sharpen these much? It feels slightly over-sharpened. Nice stuff.
CB
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Thanks Chris, extremely helpful info. Just for the record, I've never used an image straight out of HDR software either!
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Hi Chris,
Thanks.
I'd better start with capture.
This was a stitched image with a 75mm lens. I wanted a compressed feel to the photograph, and I knew I wanted pano proportions to give wider feel to the composition.
There were 8 shots in the stitch(1/13 @ F11), and there was single photograph with the person.(1/6 @ F8). All shot at base iso.
I think if I'd had my Schneider 60XL last year, I would have shot this with that. I think I could have shot the base shot in 3 frames, though may needed to have bracketed for the windows then.
I processed each neutrally in LR.
Having exposed for the windows I then brought the basic exposure of the photograph up a little, and pulled the highlights down. I left the Fill Light/Shadow slider where it was.
Brightness and Contrast were both added along with some vibrance and saturation.
Some clarity was added at this stage (which I've found beneficial to older film era lenses)
Photographs were stitched and converted to a smart object to allow fine tuning of lens corrections etc.
The person file was processed to match and opened in PS as a smart object and layered into the compositions. Lens corrections copied over and unwanted image masked out.
There was a degree of light mixing through the entire building.
I whitened the columns and to some degree handrail - I wanted he rythmn of the columns and ceiling beams to really stand out.
The red flowers in the rear were actually really red, so I dumbed them down.
I warmed the ceiling up for two reasons - a west coast need for warm wood in their buildings (see the other photographs- Fir is orange and when used becomes the dominant colourin compositions.) and also to provide some contrast to the green outside. I think this works, but interestingly 12 months on, I think I'd tone it down a bit now. Example attached (LAP093_4807) - Interested in your thoughts?
There was a final curves adjustment to the entire photograph.
I usually apply an unsharp mask etc, but it looks like I didn't on this file.
When it comes back in to lightroom I sometimes complete overall tweaks to balance across the package of photographs being delivered - here , a small bump in exposure, some contrast added, and the highlights pulled down to balance the exposure bump.
I was at home last night and outputted the files to LL from other jpegs, so the attached may have been sharpened twice...
I've reattached the original (_4806) along with a less warm ceiling (_4807) - these both came from the tiffs and had no sharpening applied at all.
The other photographs followed a similiar process, however if there was a window that needed cutting in, this was also done. All with smart objects that allow fine perspective adjustments to be copied across in PS.
This was probably one of my favourite buildings last year - one of those shoots squeezed in before the tenant/owner moved all their stuff in! Thanks to the weather gods that day!
Cheers
AL
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Surely that doesn't fit into a Sprinter! The company must have added a few feet to the van body.
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Thanks for the in-depth, Andrew. So, not all that different from stuff I do. Though, I don't do the smart object route since my raws go through Capture 1 Pro. I'm curious, why stitching? Just for more res or you didn't have the lens to get that in one shot? I never stitch, just because I'm already usually compositing from 5-7 exposures.
CB
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I don't know how you do it, Craig. One of our guys at Hedrich used to shoot yachts for Sea-Ray, they would do these 6-8 week shoots in Florida. He would tungsten gel all the windows and have to lamp his fresnels way low because space was so tight. I'd go totally claustrophobic!
CB
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Nancy,
They added a new body, just the cab left from the sprinter....
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Chris, I started down the small space road back in the late 80's shooting conversion van interiors...custom interiors based an standard full sized Ford and Chevy vans. The company I worked for also made rv's and boats.
I just kind of fell into it.
Later when I started my photography business it was just rv's , marine and cargo/race trailers.
I don't know that guys name from Hedrich, but I do know the work. I started shooting interiors for Rinker boats, and they ranged from 24 to 40 feet. Pretty small cabins. For the longest time I shot them in my studio, using mole Zips through the portholes, 650w moles stragically placed into the open hatches in the ceiling and lots of small Peppers inside. It was hot as heck inside those cabins. But lots of fun. Later, after we closed the studio and went all location, I went strobe since I was now shooting in daylight factory bays. Sadly strobe is not focused tungsten, and I had to change my style.
Tethered shooting made my life so much easier and when I started shooting via the iPad, it was a dream.
Anyways, just a niche I found and I've been at it a long time.
Marine samples, some old studio stuff and some more recent strobe location.
http://www.craiglamson.com/CraigLamsonPhoto/marine.html
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Hi Chris,
In this case, the stitching was partly due to the fact that I didn't have a 50mm shift lens, so using the 75 would give me close to that field of view - I wanted to use the ceiling as the ground main hozizontal plane.
The other reason was for the nearground/farground relationship. Nearground being the first column on the right hand side. I wanted to compress this relationship as much as possible, and it was a double height space 10cms infront of the camera.
I suppose I could have shot it with the 35 and cropped in, but then for my client, it would loose the resolution (shot on a 5dmkII) to print larger than an 11x17...and Architects still print big!
I'm slowly moving to a more C1 oriented workflow. However some of the guys that work with me on the retouching side aren't up to speed yet, so I'm not ready to completely make the switch due to the difference in raw processing.
Perhaps for a different topic, but out of interest, how do you catalog your projects if not using LR?
Cheers
AL
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Ok, that makes sense. It's such a drag that Tilt/Shift options are so few. And they REALLY need new 45 & 90. Those lenses are ancient! Also, you may want to look into teleconverters. The 24 TS-e with a 1.4x is still better than almost all of the 35mm pc lenses out there. I haven't tested it, but I'm guessing the Contax would give it a run. The 2x would get your 24 to 50ish.
Actually, LightRoom is killer for cataloging. I never had a visual catalog before recently re-doing the website. Trying to build new portfolios convinced me it was time to really get organized. Now I love it. I can publish straight to my blog through a plugin. Lightroom mobile is awesome. I've set up my catalog to be saved to the cloud (Copy.com) and I can access it on the tower and on my laptop, which allows me to keyword, build new portfolios and blog from the road. Great stuff!
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Yeah.
If I'd had the tech cam and 60mm it would have been about perfect I think
I'm pretty happy with the Pentax 35mm. I've used the 1.4 with the 24 and they are pretty comparable. The P35mm has a little more barrell distortion than the Canon set up, but I can shift close to 18mm which can be handy.
I've not tried the 2x with the 24.
Lightroom is great for sorting. I'm trying to work through a work flow that allows sorting here, and processing in C1 before final cataloging in LR.
Copy.com I'm going to check that out.
EDIT: does copy.com sync live? If so, be careful it's not running while you're accessing your LR catalog. I had this set up with sugarsync a couple of years ago and it corrupted the catalog.
Think we got a bit side tracked here...Back to the topic. Next poster please! ;-)
AL
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Hi,
Lightroom is great for parametric workflow. It is not the best raw converter, but it can do an awesome job in most circumstances. Also, it has an excellent integration with Photoshop.
If your worflow is 90% parametric editing and very little Photoshop, Lightroom may be choice of tool. I you process all images in PS, Lightroom will not be a good match for your workflow.
Best regards
Erik
Ok, that makes sense. It's such a drag that Tilt/Shift options are so few. And they REALLY need new 45 & 90. Those lenses are ancient! Also, you may want to look into teleconverters. The 24 TS-e with a 1.4x is still better than almost all of the 35mm pc lenses out there. I haven't tested it, but I'm guessing the Contax would give it a run. The 2x would get your 24 to 50ish.
Actually, LightRoom is killer for cataloging. I never had a visual catalog before recently re-doing the website. Trying to build new portfolios convinced me it was time to really get organized. Now I love it. I can publish straight to my blog through a plugin. Lightroom mobile is awesome. I've set up my catalog to be saved to the cloud (Copy.com) and I can access it on the tower and on my laptop, which allows me to keyword, build new portfolios and blog from the road. Great stuff!
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Okay, I'll bite.
One taken with the Fuji X-T1, 35mm 1.4 lens, Hensel Sun Haze; the other one with a Mamiya C220, 105mm 3.5 on Portra.
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Nice portraits Martin.
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A trio from Alton Rd suite. Nikon D800 + Nikon G 14-24mm
(https://dl.dropboxusercontent.com/u/10120389/AltonRD/_DSC6492.jpg)
(https://dl.dropboxusercontent.com/u/10120389/AltonRD/_DSC6537.jpg)
(https://dl.dropboxusercontent.com/u/10120389/AltonRD/_DSC6510.jpg)
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Antonio, how do you like that zoom? I've heard great things about it. I'm just about to order one from Hartblei that comes as a tilt/shift kit for the Sony.
CB
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Antonio, how do you like that zoom? I've heard great things about it. I'm just about to order one from Hartblei that comes as a tilt/shift kit for the Sony.
What about the new Canon 11-24? That thing looks amazing and supposedly betters the Nikon buy a good margin and is almost as good wide open at F4 as it is at F8-F11. I'm looking longingly at one at the moment.
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Antonio, how do you like that zoom? I've heard great things about it. I'm just about to order one from Hartblei that comes as a tilt/shift kit for the Sony.
CB
Well Chris, before I went Nikon I had Canon and my lenses were the 24S-E and 17TS-E. Now that I own a Sony too I regret selling those lenses and mostly the 24 TS-E which is the best wide angle I ever had.
The Nikon is a very good lens. As a zoom lens it is a compromise design wise, it suffers from a bit of barrel distortion between 14mm and 16mm. It The construction is very good and I use it mostly from 18 to 24. Just try to avoid strong light in front of the lens because it flares.
Now I got the Kipon Tilt Shift adapter for the Sony A7R and the tough E mount from Fotodiox, so just the last days I been able to try several lenses on this adapter.
With the 14-24 you have enough movement for interiors. My lens has the original lens hood which the Hartblei had been shaved so it might be suitable for exteriors shots where plenty of movement is needed.
I did a full size stitched from 3 horizontal shots taken at 18mm with 10mm shift up and down. you can download the 3 raw files from this link. Let me know your thoughts.
https://dl.dropboxusercontent.com/u/10120389/14-24mm.zip (https://dl.dropboxusercontent.com/u/10120389/14-24mm.zip)
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What about the new Canon 11-24? That thing looks amazing and supposedly betters the Nikon buy a good margin and is almost as good wide open at F4 as it is at F8-F11. I'm looking longingly at one at the moment.
That one looks pretty good to me as well. I just might be convinced should I move to a higher pixel count camera from my 1DsIII, 5dII and 6 d
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What about the new Canon 11-24? That thing looks amazing and supposedly betters the Nikon buy a good margin and is almost as good wide open at F4 as it is at F8-F11. I'm looking longingly at one at the moment.
I haven't tried yet. could be interesting.
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One from a recent project with Canon body and Canon 24TS-E.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/PH_Forum.jpg)
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One from a recent project with Canon body and Canon 24TS-E.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/PH_Forum.jpg)
Gazwas I'm courious why did you leave the open space in the foreground
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Ditto, I can tell from the vanishing point that you've shifted the lens down quite a bit to show more floor.
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Gazwas I'm courious why did you leave the open space in the foreground
Ditto, I can tell from the vanishing point that you've shifted the lens down quite a bit to show more floor.
This is for an architects that specialise in the refurbishment of bars and restaurants and a big part of the investment is the flooring so I always try and find a position that highlights the quality and texture of the flooring. Habit also I suppose as I have various clients that are carpet manufacturers, ceramic tile manufacturers and flooring adhesive/underlayment manufacturers so have a appreciation of good flooring and often try and get some it in my shots rather than always clutter with furniture.
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Another shot done recently and again on Canon with TS-E.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/RW_Forum.jpg)
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Using the A7R with TS adapter. Nikon 14-24mm set to 19mm. ISO 200, 10 Sec F/11. Rise: 10mm, Swing 5 degrees.
(https://dl.dropboxusercontent.com/u/10120389/A7R/_DSC2968.jpg)
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Antonio, would you mind posting a 100% crop of the upper left corner? I'd like to see how that zoom handles detail at the edges.
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Antonio, would you mind posting a 100% crop of the upper left corner? I'd like to see how that zoom handles detail at the edges.
No Problem Chris.
(https://dl.dropboxusercontent.com/u/10120389/A7R/100.jpg)
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Another shot done recently and again on Canon with TS-E.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/RW_Forum.jpg)
I figured the pervious had to have some flooring motivation. As for this one, I think you have a strong base but I can see a number of things that would make the shot more impactful. I hope this doesn't offend you, I spent about 10 minutes in Photoshop to push the image towards something that I feel is more compelling.
Firstly, you have a lot going on around the edges of the frame. The addition of the column faces don't really tell us anything new about the room and they pull your eye to the edge, away from the more interesting parts of the composition. Always work to drive the viewers eye towards what you're really selling. So, I cropped in a bit. Also, that table and chair in the foreground are barely peeking in, not adding anything, just remove them. Next, the overall WB is cool and less inviting. I warmed the whole shot up. This also makes the fireplace area TOO warm, so I desaturated yellow there locally. Then I found the shadows across the ceiling really distracting. Anytime my strobe is hitting the ceiling (and throwing shadows) we try to flag that off. Sometimes you really can't, though. I always do one exposure with the strobe off. This gives me something to composite in and clean up bad strobe leaks or shadows. I almost always use this extra image in my retouching and it always makes the overall shot more polished. Notice that we also see shadows from your lighting across the fireplace plinth, in the back right corner and the foreground columns. These make the shot visually noisy. Your lighting should never be evident (unless you REALLY mean for it to be). With the grouping on the right, I'd like that to feel a little more spacious, inviting. You could do this by pulling the foreground chair towards camera just a little and the back one to the left slightly so you feel the space between it and the table. Additionally, I went in and did selective burning and dodging to help better move the eye around and add depth. Then I noticed that there is another room beyond the fireplace. That's a great opportunity to relay the depth and volume of the overall space within a more intimate shot. It's dark, though, so your story is losing value. We would have just thrown a ceiling bounce back there to open it up, but I've done it in Photoshop pretty effectively. Lastly, in styling, I find the menu stand on the left really distracting. Maybe just a place setting (or anything low or flat) would have been better. Equally, the menu stand, table tent and salt/pepper shakers just seem to clutter up the right side.
I hope you don't mind me totally dissecting this image, but I felt like it was a pretty great learning opportunity and I hope that that is more valuable than me just coming here and saying "Nice shot."
Best,
CB
(https://copy.com/dk3Oojs1NalS3wXy)
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No Problem Chris.
(https://dl.dropboxusercontent.com/u/10120389/A7R/100.jpg)
Yeah, I think I'm gonna have to get one of these for the A7r.
Thanks!
CB
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That looks pretty good.
I haven't seen or heard of this lens option for the sony set up. Can someone explain to me how a 35mm designed lens can be shifted on a 35mm sensor?
Obviously it has a larger image circle than needed, but this is actually quite cool...
AL
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I'm about to order this rig from Hartblei. Stefan has created a nice little solution...
He reports...
14mm about 5mm Shift
18mm around 10mm Shift
24mm about 7mm Shift
So, while it doesn't have as much movements as dedicated Tilt/Shift glass, it can go Crazy wide and the idea of composing via zoom is pretty enticing (zero crop).
(https://fbcdn-sphotos-h-a.akamaihd.net/hphotos-ak-xpf1/t31.0-8/10683672_580181708760936_3506685091298568897_o.jpg)
(https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-xfp1/t31.0-8/10661779_580077868771320_2688421546915681875_o.jpg)
Jack Flesher has done a nice write-up at Get Dpi. (http://www.getdpi.com/wp/2015/03/h-cam-master-ts-adapter/) on the kit.
CB
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I think is a good Idea Chris. Just change the mounting ring in your camera first because it flexes. I got the Tough-E mount.
Ask Stefan about this.
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Residential interior shot with a Canon dslr and a Canon 24mm perspective control lens.
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I hope you don't mind me totally dissecting this image, but I felt like it was a pretty great learning opportunity and I hope that that is more valuable than me just coming here and saying "Nice shot."
Don't mind at all and appreciate your imput and excellent pointers to help me improve in an area of photography I really enjoy.
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Residential interior shot with a Canon dslr and a Canon 24mm perspective correction lens.
The white on white was very nicely done. You hit the tonality just right. That is not an easy subject .
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Here's a project shot recently of the new Alfa 4C. It's first use will be the car's catalog but the images will then go into their asset library. I shot the majority of the images with my P45+ but the profile interior was shot with a 5dmk3 and 17mmT/S. Jim
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Jim, this prompted me to revisit your site. Everything is really great, but what I really love is the way you handle images in post. They're really rich and seductive, but they don't feel artificial... like so much work does after it comes out of post. Beautiful stuff.
-CB
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Jim,
Wonderful images of something I think everyone would love to have in the garage - as Chris put it 'seductive'...
Out of interest - the overheads. I'd love to know your set up for these - ie, camera, lens, how far above the car were you, lighting etc.
The lighting is wonderful!
AL
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Here's a project shot recently of the new Alfa 4C. It's first use will be the car's catalog but the images will then go into their asset library. I shot the majority of the images with my P45+ but the profile interior was shot with a 5dmk3 and 17mmT/S. Jim
I love that you used some hard light on these. You don't see that much with automotive. It's very well done.
Off topic....how do you like the perky?
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Glad the work has met with your approval! The overhead shots are taken with a 50mm lens (on a P45+) and the distance from the camera to the ground is 18'. I have to be exactly centered because at that distance if I'm off a little the car will look skewed. Lighting wise, I use a combination of direct light, reflected light and kenoflos, it's not unusual to have 4-8 different captures masked together to achieve the desired look. Craig, what's a perky? Jim
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Another shot done recently and again on Canon with TS-E.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/RW_Forum.jpg)
Did you use a soft box for this image?
If so, I almost always use the 50 degree cloth grids when I use a soft box. Going to Chris's point, it gives me greater control over any spill I would have otherwise gotten. I often can have the box almost at ceiling height aiming down and avoid any spill onto the ceiling.
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I guess I am missing all of the fun not checking out this area.
Here are a few from a couple of weeks ago. The first two are from a bank office building project. I tried to get a little more creative with my light, using the Profoto Magnum reflector to add harder shadows.
The last two is a nice kitchen I shot. In the first I decided to place the Magnum outside to have it sweep across the business section of the kitchen. In the second one, that same position gave me pretty intense glares and I had to move it. After doing so, I can't help be think, "should I have placed it like that for the first one?" ???
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Here's a project shot recently of the new Alfa 4C. It's first use will be the car's catalog but the images will then go into their asset library. I shot the majority of the images with my P45+ but the profile interior was shot with a 5dmk3 and 17mmT/S. Jim
Really nice. I really like your lighting for cars.
Have you ever checked out Michael Furman's work? He is another car photography (based in Philly). Different lighting style, but your antique cars remind me of his work to a degree. He mainly shoots antiques; some of the cars he works with I would love to just be able to say I sat in it for a few seconds.
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Craig, what's a perky? Jim
Jim, its a carpet brush. I though you said you were going to get on in another thread. Sorry if I was mistaken.
(http://ecx.images-amazon.com/images/I/71eBfqD1JKL._SX522_.jpg)
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I guess I am missing all of the fun not checking out this area.
Here are a few from a couple of weeks ago. The first two are from a bank office building project. I tried to get a little more creative with my light, using the Profoto Magnum reflector to add harder shadows.
The last two is a nice kitchen I shot. In the first I decided to place the Magnum outside to have it sweep across the business section of the kitchen. In the second one, that same position gave me pretty intense glares and I had to move it. After doing so, I can't help be think, "should I have placed it like that for the first one?" ???
Joe, to my eye, the window light on the first kitchen image might be a bit too low. As shown it rakes across the cabinet and hood almost to the top of them. I might have take it higher if possible.
I love creating window light, but it's a lot of work, and I don't have to deal with lots of really tall windows with my subjects. That said I'm not above flagging off the top of the beam if the window is too high to give me the cutoff I'm looking for.
Another thing I find helpful is using two lights to create the "sunshine" Often times a single beam just won't spread far enough to cover everything. For example in your second kitchen image some sunlight raking over the sink area and the cutting board might have created some nice pop and longish shadows.
If I only had one light outside I might have moved it just to get this area and then combine it in post.
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Joe, to my eye, the window light on the first kitchen image might be a bit too low. As shown it rakes across the cabinet and hood almost to the top of them. I might have take it higher if possible.
I love creating window light, but it's a lot of work, and I don't have to deal with lots of really tall windows with my subjects. That said I'm not above flagging off the top of the beam if the window is too high to give me the cutoff I'm looking for.
Another thing I find helpful is using two lights to create the "sunshine" Often times a single beam just won't spread far enough to cover everything. For example in your second kitchen image some sunlight raking over the sink area and the cutting board might have created some nice pop and longish shadows.
If I only had one light outside I might have moved it just to get this area and then combine it in post.
Thanks Craig, thinking about it, I should raised the light higher for the first kitchen shot. I like the sweep of light, but there is something off about it, so raising it could have helped.
Two lights for sunlight is an interesting idea. I will have to think about this more.
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I've done two lights for sunlight also. One light almost always looks fake because the top and bottom shadow lines diverge instead of running parallel like the sun does. With two flagged lights you can create those parallel shadow lines.
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I guess I am missing all of the fun not checking out this area.
yes... this is the cool thread now.
CB
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I've done two lights for sunlight also. One light almost always looks fake because the top and bottom shadow lines diverge instead of running parallel like the sun does. With two flagged lights you can create those parallel shadow lines.
Thanks Chris! An obvious solution to an annoying problem I never considered.
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Jim, its a carpet brush. I though you said you were going to get on in another thread. Sorry if I was mistaken.
(http://ecx.images-amazon.com/images/I/71eBfqD1JKL._SX522_.jpg)
Craig, I did get one! Haven't used it yet though, thanks for reminding me that I have it. Jim
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Really nice. I really like your lighting for cars.
Have you ever checked out Michael Furman's work? He is another car photography (based in Philly). Different lighting style, but your antique cars remind me of his work to a degree. He mainly shoots antiques; some of the cars he works with I would love to just be able to say I sat in it for a few seconds.
Hi Joe, I'm very familiar with Michael's work. He's carved out a very nice niche market for himself and does a tremendous job. Glad you liked the work you saw. Jim
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What HDR program are you guys using? I have Photomatrix but lately I've found that I prefer EnfuseGUI.
It's not as intuitive asPhotomstrix but I prefer the end results,
http://software.bergmark.com/enfusegui/Main.html
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What HDR program are you guys using? I have Photomatrix but lately I've found that I prefer EnfuseGUI.
It's not as intuitive asPhotomstrix but I prefer the end results,
http://software.bergmark.com/enfusegui/Main.html
I hardly use HDR anymore, but use either Photomatix fusion or Canon's HDR when I do. Norman McGrath says he uses Canon's HDR a lot now and doesn't use his lights anymore.
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Craig, what do you like better about Enfuse? I haven't tried it yet, still using Photomatix, but will give it a spin.
David, I wouldn't go quoting McGrath. I've always felt his work was mediocre at best. Your own images have much more depth, richness and refinement than anything I've ever seen of his. Software will never give you the same volume, texture or depth of space that lighting does. Take it from someone who typically composites 5-7 exposures for every image.
IMHO
-CB
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Craig, what do you like better about Enfuse? I haven't tried it yet, still using Photomatix, but will give it a spin.
David, I wouldn't go quoting McGrath. I've always felt his work was mediocre at best. Your own images have much more depth, richness and refinement than anything I've ever seen of his. Software will never give you the same volume, texture or depth of space that lighting does. Take it from someone who typically composites 5-7 exposures for every image.
IMHO
-CB
I think the result is more natural. I do lots of 360 vr panos and PTGUI has an HDR routine called exposure fusion. I love the results as I don't light those vr's. To my eye, Enfuse is just as good.
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Craig, what do you like better about Enfuse? I haven't tried it yet, still using Photomatix, but will give it a spin.
David, I wouldn't go quoting McGrath. I've always felt his work was mediocre at best. Your own images have much more depth, richness and refinement than anything I've ever seen of his. Software will never give you the same volume, texture or depth of space that lighting does. Take it from someone who typically composites 5-7 exposures for every image.
IMHO
-CB
Chris, I mentioned McGrath mainly because he is someone who is widely recognized among architectural photographers. Anyway, I appreciate your comments about my work, especially since I really admire your talent, skill and experience and refer to your work as one model of high quality for the genre.
I have to agree with you about lighting, and I can't see myself doing without it. That said, I admire the work of Scott Frances, who claims he no longer uses supplementary lighting (through heavy compositing, rather than HDR).
As for Enfuse, it seems to me to be about the same thing as Photomatix fusion, without all the controls of the latter. However, when I use Photomatix fusion, I tend leave the controls pretty flat and do all the tonemapping and other post stuff in Lightroom and Photoshop.
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I hardly use HDR anymore, but use either Photomatix fusion or Canon's HDR when I do. Norman McGrath says he uses Canon's HDR a lot now and doesn't use his lights anymore.
I light everything but I find, for the rv interiors I do, that an available light HDR layer under my finished layer allows me to erase areas around the practicals so I can get the reflections and cast light shapes the practicals produce.
The RV guys are all going LED for the interior lighting and the color temp truly sucks. I shoot strobe so it's not an issue, except for the practicals.
This is not my favorite wood, but this was from Monday...
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I light everything but I find, for the rv interiors I do, that an available light HDR layer under my finished layer allows me to erase areas around the practicals so I can get the reflections and cast light shapes the practicals produce.
The RV guys are all going LED for the interior lighting and the color temp truly sucks. I shoot strobe so it's not an issue, except for the practicals.
This is not my favorite wood, but this was from Monday...
I think anyone shooting modern residential interiors these days is finding a lot of LED lighting with that yucky color. However, whenever possible, I do separate exposures for the artificial light sources and blend them in separately.
With the increased dynamic range (lower noise, etc.) provided by recent cameras and RAW software, I am finding I can get much more out of single ambient exposures for a base, and so find much less of a need HDR in the mix, and I am just using mere Canons, not even the new Nikons or Sonys that so many are enthusiastic about.
You do really well those tight spaces. Looks like the style I use sometimes for real estate photography would go over well for this kind of work: bright and evenly lit and wiiide. Lighting really helps bring out the textures in the wood and upholstery for these.
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Your work is very nice David, as is the subject matter....
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I have to agree with you about lighting, and I can't see myself doing without it. That said, I admire the work of Scott Frances, who claims he no longer uses supplementary lighting (through heavy compositing, rather than HDR).
As for Enfuse, it seems to me to be about the same thing as Photomatix fusion, without all the controls of the latter. However, when I use Photomatix fusion, I tend leave the controls pretty flat and do all the tonemapping and other post stuff in Lightroom and Photoshop.
I love Scott Francis work too, however I have heard that he still uses lighting, even though he (apparently) says he does not. (I am not sure if that is a rumor or if did actually say that.) Brad Feinknopf, on the ASMP Forum, a few months back mentioned that one of Scott Francis's former assistants now assists for him and that Scott Francis does use lights when he thinks he needs them. Sometimes as many as 30, sometime less, and sometime no lights.
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Yes this side of the forum is getting very interesting.
Needless to say showing fantastic pieces of work.
Talking about HDR, yesterday I was checking out the new HDR feature in Lightroom CC (6). This adds to the whole set of techniques one could use for rendering and layering architectural and landscape images.
It is far different than those of Photomatrix, very easy to use and has a natural rendering.
Also have the option to turn off auto toning.
Check out this link:
http://www.photocascadia.com/blog/new-hdr-and-panorama-photo-merge-in-lightroom-cc-2015/#.VTj6is5hMfl (http://www.photocascadia.com/blog/new-hdr-and-panorama-photo-merge-in-lightroom-cc-2015/#.VTj6is5hMfl)
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Talking about HDR, yesterday I was checking out the new HDR feature in Lightroom CC (6). This adds to the whole set of techniques one could use for rendering and layering architectural and landscape images.
+1
I'm a Capture One user but have just signed up for the CC Photography plan and as Lightroom is "thrown in" I've downloaded LR CC for a play and was very surprised by the HDR feature, very nice indeed and very subtle.
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I'm retouching a new job today. Just updated my Lightroom and tried the merge to HDR function on an image I was almost half done with. I'm totally blow away. SO much better than anything I've used yet.
LR on the left P'Matix on the right
(http://christopherbarrett.net/forum_images/HDR.jpg)
EDIT: Further explorations show my previous workflow was limited by using Tifs versus Raws. Hmm... I just may have to switch from C1Pro to LR
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Some of the product work I do for a ceramics manufacturer.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/Churchill%2014-05-132525.jpg)
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I just may have to switch from C1Pro to LR
Was thinking exactly the same......
I also noticed WB seem so much more neutral in the new LR CC than C1Pro?
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C1 seems to be chasing LR at the moment...
They keep coming out with new features that LR has has for ages - photoshop round trip etc...
Wish LR raw processing was on a par with C1!
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I'm retouching a new job today. Just updated my Lightroom and tried the merge to HDR function on an image I was almost half done with. I'm totally blow away. SO much better than anything I've used yet.
LR on the left P'Matix on the right
(http://christopherbarrett.net/forum_images/HDR.jpg)
EDIT: Further explorations show my previous workflow was limited by using Tifs versus Raws. Hmm... I just may have to switch from C1Pro to LR
An impressive result. LR "pulls" the window here without compromising midtone separation, relative to the Photomatix result.
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Some of the product work I do for a ceramics manufacturer.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/Churchill%2014-05-132525.jpg)
Warm and inviting. Particularly like how you handled the shallow DOF here.
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I'm retouching a new job today. Just updated my Lightroom and tried the merge to HDR function on an image I was almost half done with. I'm totally blow away. SO much better than anything I've used yet.
LR on the left P'Matix on the right
(http://christopherbarrett.net/forum_images/HDR.jpg)
EDIT: Further explorations show my previous workflow was limited by using Tifs versus Raws. Hmm... I just may have to switch from C1Pro to LR
Chris, Are these from tifs or raw files. I always found that the Photomatix output from C1 raws was less sharp than tifs. I'm impressed with the results you've achieved. Jim
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I'm retouching a new job today. Just updated my Lightroom and tried the merge to HDR function on an image I was almost half done with. I'm totally blow away. SO much better than anything I've used yet.
LR on the left P'Matix on the right
(http://christopherbarrett.net/forum_images/HDR.jpg)
EDIT: Further explorations show my previous workflow was limited by using Tifs versus Raws. Hmm... I just may have to switch from C1Pro to LR
Chris, I use C1 for products and Lightroom and ACR for other jobs. In general, Sony behaves better with Lightroom or ACR. The one thing I notice about the new Lightroom, and not sure if it is my 2010 (old) mac pro, is that it renders kind of slow. Provably they have to update some parts of it.
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This are the values that I use for HSL.
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This are the values that I use for HSL.
Sorry, last time I used LR was very briefly on version 2 but what do you use those values for - camera profile?
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Jim, my typical workflow is shoot into C1 Pro, process out Tifs, organize in Bridge, generate HDRs in Photomatix, then drop that on top of my good "normal" exposure in Photoshop with blending. So, Photomatix only has access to the Tif's. In Lightroom I used the Raws, so I'm sure it had more info available to it. What I was so surprised with was that it created a decent, full tonal image without my typical blending.
The old process example included dropping the Photomatix HDR on top of my straight exposure... so we're basically comparing a LR HDR blend to a layered and blended file.
I've always worked with Tifs because of the need to produce files with LCCs applied. This throws a wrench into the Raw LR workflow (as I can not get their flat field plugin to work). My next thought is to swap out all my Schneiders for retrofocus lenses... maybe even Hasselblads.
This stuff never ends!
At least I feel like I'm on the road to breakthrough in image quality that I've ben hunting a while.
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Jim, my typical workflow is shoot into C1 Pro, process out Tifs, organize in Bridge, generate HDRs in Photomatix, then drop that on top of my good "normal" exposure in Photoshop with blending. So, Photomatix only has access to the Tif's. In Lightroom I used the Raws, so I'm sure it had more info available to it. What I was so surprised with was that it created a decent, full tonal image without my typical blending.
The old process example included dropping the Photomatix HDR on top of my straight exposure... so we're basically comparing a LR HDR blend to a layered and blended file.
I've always worked with Tifs because of the need to produce files with LCCs applied. This throws a wrench into the Raw LR workflow (as I can not get their flat field plugin to work). My next thought is to swap out all my Schneiders for retrofocus lenses... maybe even Hasselblads.
This stuff never ends!
At least I feel like I'm on the road to breakthrough in image quality that I've ben hunting a while.
Chris, You can run your C1 raws through Photomatix as well but as I mentioned before there is a sharpness issue (don't know why). It's my understanding that you can run your tifs through the HDR program in Lightroom, as well as raws. Perhaps you can run the same captures as tifs through Lightroom and see how they look. I don't think a raw file contains significantly more data than a 16bit tif, hopefully it will look the same or maybe even better. In your test is the Photomatix image blended with an on exposure? I'm surprised the sky is still so burned out. I'll have to download the Lightroom software and give it a try, I would love to simplify my workflow! By the way, to simplify your life even more you won't need the Schneiders when the new higher mp bodies arrive.
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Well, I couldn't really run my RAWs through HDR software, because I needed the LCC applied. Once upon a time, maybe in Capture 1 Pro 3.0, the software could output .DNGs WITH LCCs applied, but they quickly removed the feature.
I've just ordered a Hasselblad CF lens adapter board for my Arca and I think I may dump all my Roden-Schneiders for CFe glass. If the glass holds up, this should eliminate the need for LCCs altogether.
A view camera with 'Blad lenses on the front and a toy A7r on the back. I must be out of my frackin' mind.
(http://www.arca-shop.de/media/images/popup/arca_adapter_universali_Hasselblad_4459.jpg)
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I liked what I saw in Chris's test and decided to download the program. I'm happy with the results, here's the approach: In LR import C1 raws and merge to HDR, then export as a full res tif. With Photomatix I worked with 16bit tifs and merged in Photomatix using the Exposure Fusion mode and did not try to optimize the image and used default/generic settings. What I liked about the LR result is a more accurate color balance, especially in the shadows (I've attached reference) and a more "normal" contrast range. Before I start using this workflow I'll need to understand a lot more about LR and what it's actually doing and I hope it won't create additional steps but the results seem favorable. Jim
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Heh, I jut started playing with Topaz Adjust, which I think I heard about from you.
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I liked what I saw in Chris's test and decided to download the program. I'm happy with the results, here's the approach: In LR import C1 raws and merge to HDR, then export as a full res tif. With Photomatix I worked with 16bit tifs and merged in Photomatix using the Exposure Fusion mode and did not try to optimize the image and used default/generic settings. What I liked about the LR result is a more accurate color balance, especially in the shadows (I've attached reference) and a more "normal" contrast range. Before I start using this workflow I'll need to understand a lot more about LR and what it's actually doing and I hope it won't create additional steps but the results seem favorable. Jim
I am not sure what you mean by C1 RAWs. I am guessing that you are using small format digital files here, in which case they most likely would either be Canon, Nikon or Sony RAWs. Also, hardly an expert on the mechanics of the HDR, but I am guessing that, under the hood, LR is converting each component image to an intermediate Tiff and then discarding these when producing the finished HDR file. I believe that is what Photomatix is doing when you use it with the LR plugin.
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Also, Jim, once LR creates the HDR, trying adjusting it's settings there in LR. By playing with curves and different areas of tonality, you can get a really good looking file. What I do then, instead of exporting a Tif, is just go right-click >EditIn > Photoshop.
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You guys were very lucky to even get something out of Photomatrix, I never could..
Now with fewer steps, which is what we are all trying to accomplish, get better results!
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Heh, I jut started playing with Topaz Adjust, which I think I heard about from you.
I'm a big fan of Topaz Detail 3
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I am not sure what you mean by C1 RAWs. I am guessing that you are using small format digital files here, in which case they most likely would either be Canon, Nikon or Sony RAWs. Also, hardly an expert on the mechanics of the HDR, but I am guessing that, under the hood, LR is converting each component image to an intermediate Tiff and then discarding these when producing the finished HDR file. I believe that is what Photomatix is doing when you use it with the LR plugin.
David, Yes my current workflow is to import the captures or tether the camera into C1. I tried running the 16bit tifs of the files in LR's HDR mode and it wasn't very successful. Chris, I did do some additional work in the develop mode, primarily a little sharpening. You didn't hear about Topaz from me, I've never tried it. Jim
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Also, Jim, once LR creates the HDR, trying adjusting it's settings there in LR. By playing with curves and different areas of tonality, you can get a really good looking file. What I do then, instead of exporting a Tif, is just go right-click >EditIn > Photoshop.
...as a smart object - allows you to tweak again when in photoshop as a raw, work the lens corrections etc.
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So I have been out of the loop for a few days (my other half and I needed to get away for a long weekend) and just got back. Love the results here with LR.
From reading through the conversation, is it true that you can not do this with RAW files that need a LCC correction?
You can export from C1 as digital raws with the LCC applied?
If so, that sucks.
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There is a "Flat Field Correction" plugin for LR. I can't seem to get it to work, tho...
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Do you have the images in DNG?
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Antonio, I was trying it on the camera raw files, do they need to be converted to DNG?
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Hi Chris yes they need to be DNG. I just not sure exactly what effect you can achieve with those plug ins. I had tried them but don't see any difference..
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Hmm, well I'm in the middle of restructuring my kit and my goal is to move away from symmetrical wides that require LCCs. My Arca Hasselblad lens adapter just arrived and I'm looking forward to testing the 50mm against my Rodie 55.
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Hmm, well I'm in the middle of restructuring my kit and my goal is to move away from symmetrical wides that require LCCs. My Arca Hasselblad lens adapter just arrived and I'm looking forward to testing the 50mm against my Rodie 55.
Chris, I'm not so sure that a LCC isn't necessary with a shifted medium format lens. I'm interested in what you find out. Jim
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Who the hell knows what's going on in my head, Jim? I feel like I'm skirting ridiculousness here but am determined to reinvent my process. It's an odd blend of OCD and Masochism.
As evidenced here...
(https://scontent-ord.xx.fbcdn.net/hphotos-xap1/v/t1.0-9/21757_10205655392999178_4575436879425183471_n.jpg?oh=c5b1df95fd90740f151dbae3548b7390&oe=55D3559F)
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Meanwhile, Stefan just came up with this!
The new Canon 11-24 on tilt/shift adapter.
(https://scontent-ord.xx.fbcdn.net/hphotos-xap1/t31.0-8/11187150_695037070608732_4843922259263635597_o.jpg)
Here he is on FaceBook (https://www.facebook.com/pages/HCamde/122001131245665?fref=photo).
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Uh Chris wow you'll have plenty of play with that Hassy 50mm. What version is that?
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Meanwhile, Stefan just came up with this!
The new Canon 11-24 on tilt/shift adapter.
(https://scontent-ord.xx.fbcdn.net/hphotos-xap1/t31.0-8/11187150_695037070608732_4843922259263635597_o.jpg)
Here he is on FaceBook (https://www.facebook.com/pages/HCamde/122001131245665?fref=photo).
Zoom lenses that shift. Truly amazing. I often find a 17mm shift to be too wide but want something more than 24mm, say, about 20mm. Looks as though this or the Nikon conversion would do the trick (just that I would have to convert to Sony to do it).
I know the Nikon 14-24 has an excellent reputation for image quality, and the Canon 11-24 looks excellent on paper. However, I wonder how much image quality will hold up after adding additional elements and using shifts. Plus, how much distortion do the conversions add? Yes, we can often correct for distortion with Photoshop, but once in a while there are things that you either just can't fix or that require really heavy retouching to do so, which would not be the case with lenses that inherently have low rectilinear distortion.
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David, the conversions don't add any additional optics (like the 'Blad HTS does), so there should be no additional distortion beyond what already exist in the lens. I want to add one to my kit, but am now torn between the Nikon and the newer Canon.
Hmm...
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David, the conversions don't add any additional optics (like the 'Blad HTS does), so there should be no additional distortion beyond what already exist in the lens. I want to add one to my kit, but am now torn between the Nikon and the newer Canon.
Hmm...
Chris, I am puzzled then. These lenses were not designed for shifting, so you would not expect that much movement would be available without some kind of modification
of the optical design, and the only way I could imagine doing that to an existing lens is by adding optical elements. However, I am hardly an expert on optics or lens design.
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Yeah, but Stefan tested them out and they actually have circles that allow some shift... not as much as a dedicated TS-e. I too love the idea of zooming into the composition versus cropping and would be willing to give up a little movement for that.
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I found out that from my set of Nikon lenses some have bigger image circles and some are quite tight. My 85 1.8 G has 5mm play. The Zeiss 35mm f2 has 6mm play and this is enough for interiors, the 60mm macro G 2.8 which is excellent lens has 8mm play, the 14-24 has about 10mm play and all very sharp at this end. Of course this is surprising. I always work at F/11 if it helps.
In some forum I read the a Nikkor 50mm 1.8 E Series has enough image circle to cover MF, of course this lens is not sharp enough for 36 mpx camera.
I also have a Horseman VVC Pro which is fitted with an APO-D Rodenstock 120mm 5.6 making an excellent set up for products. I tried fitting this Horseman with Pentax 645 lenses but the from end is not strong enough for the weight of this lenses.
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Quick grab of the living room with the FrankenArcaBladSonyenstein... that old CF 50mmm holds up nicely, even against my Rodie 55.
(https://scontent-ord.xx.fbcdn.net/hphotos-xft1/t31.0-8/10955147_10205657738817822_2466432177624808432_o.jpg)
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Chris, always appriciate your insight. I have been working through some of the same issues creating a new kit. I bought into the Actus when it was released and have cobbled together a great kit, including the 40mm Hassy CFE, 55 and 45 Rodie, 35 Contax PC, 75 Rodie Grandagon, looking forward to using my Canon 24ts and 17ts with the new lens plate. System works well on interiors, I use it often for stitching. Posted image is with the Hassy 40 CFE.
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Very cool. I was just taking a good hard look at the Actus. I already have the M2, though and like the additional movements. S K Grimes is going to make me a Canon mount lensboard :)
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Chris, always appriciate your insight. I have been working through some of the same issues creating a new kit. I bought into the Actus when it was released and have cobbled together a great kit, including the 40mm Hassy CFE, 55 and 45 Rodie, 35 Contax PC, 75 Rodie Grandagon, looking forward to using my Canon 24ts and 17ts with the new lens plate. System works well on interiors, I use it often for stitching. Posted image is with the Hassy 40 CFE.
Can Leica S series lenses be adapted for this kind of purpose? That would be something. Haven't used Leitz lenses since film days, but some of those lenses really had a special look to them. Don't know to what degree that carries over to the S system or whether that quality translates into digital though.
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Ha! David, I posted exactly that question in the MF Forum. Nobody knows. They have electronic control of the apertures, so that's an issue. I would love to try the 30-90 zoom! For my Canon TS-e glass, I'm planning to use the manual override trick to set them at f/8 1/2.
@ David P., do you have any full rez from the Contax you could send me? I'm seriously thinking about hunting one of those down to replace my SK 35.
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Got to shoot that 11-24 a little last week...
Wow it's wild - taming is necessary!
Bloody great though.
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Whoa...I can post images here and not have someone measure the sensor I shot it on? Cool!
I combined two separate photos to get the people "right". The bike is supposed to sort of anchor the photo at the bottom and help make sure you notice the wedge shape of the lower part of the building. I had another frame with a red convertible but the car seemed to steal the show from the building so I went with the (more eco-friendly) bike.
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Hey Scott,
Nice image.
I like the combo of the red bike guy and girl in the background. Just enough red.
Did you have another exposure with the walking guy (black to with backpack), left of the screen, a little further to the left or right?
I sort of want to see the Left hand edge of the building touch the ground.
Nice work - would love to see more of this project.
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Welcome to the dark side, Hargis! ;)
I shot this project on Thursday, retouched all weekend and bamm, there it is already! Nice!
(https://scontent-ord.xx.fbcdn.net/hphotos-xaf1/t31.0-8/10842207_10205717559433300_1573189382314094927_o.jpg)
More @ Skidmore's site... (http://www.som.com/news/ui_labs_digital_manufacturing_and_design_innovation_institute_designed_by_som_opens_in_chicago)
CB
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Chris, nice to be here.
Andrew, thanks. Here's the rest of the set:
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Hi Scott, great images!
Chris great as always! you seem to have more commercial clients than residential. Tell the story.
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Wow, Scott, amazing photos.
There has been some great architectural photography in this tread. But where is everyone else :)
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Chris, nice to be here.
Andrew, thanks. Here's the rest of the set:
Excellent work, Scott.
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Typically it was grey, blustery and showery morning in the UK and had to shoot a table setting for a restaurant depicting a "summer lunch" for a urgent magazine advertorial.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/YBR_Forum.jpg)
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Knowing only too well how 'grey', UK 'grey' is - that's f-fantastic.
Be careful though, with that sort of result, they'll be asking you if you know how to cook ...
Kudos.
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Yeah, Anotonio... almost all of my work seems to be commercial interiors. I wouldn't mind more residential stuff, It's often more interesting. I think that many residential architects probably have lower photo budgets, tho...
CB
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Yeah, Anotonio... almost all of my work seems to be commercial interiors. I wouldn't mind more residential stuff, It's often more interesting. I think that many residential architects probably have lower photo budgets, tho...
CB
You have found a really nice and profitable niche, and you do great work. However, at least based on my personal experience the constant stream of very similar work does kind of wear on you after a couple of decades. You do seem to do a pretty good job of trying to keep yourself fresh with your other endeavors. If I were not so close to retirement I suspect I would be searching for a different kind of subject matter just to break it up a bit. However, I'm getting old :)
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Could have easily missed this thread as it's in a section of the forum I don't often frequent.
Glad I didn't.
FWIW I'd like to see an additional dedicated image sharing section on the LuLa forum rather than individual threads being buried within this format driven Equipment & Techniques section.
Keith, I would love this exact thread in the main forum headings, so we can all get straight at Pro work without all the format war nonsense.
You do not have to go looking in individual forums, just click on the unread post link at top right and all new posts appear.
.
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I think that many residential architects probably have lower photo budgets, tho...
CB
Pitifully a the truth. I love residential work but a lot of my quotes are turn down. If it wasn't because I do product photography I would be fried.
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Typically it was grey, blustery and showery morning in the UK and had to shoot a table setting for a restaurant depicting a "summer lunch" for a urgent magazine advertorial.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/YBR_Forum.jpg)
Gazgas lovely image, light and tonality.
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Pitifully a the truth. I love residential work but a lot of my quotes are turn down. If it wasn't because I do product photography I would be fried.
But, it's pretty impressive when they do "go for it" and cough up the fee. When you think about SOM or Fentress etc. spending mid-four figures on a shoot it just seems a little pathetic. But for a mid-size interior designer to spend that...it's a much larger sum to them. Makes me feel very motivated! I know what it's like to spend (what seems to me like) a large amount of money on something that might, or might not, pay off.
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You have found a really nice and profitable niche, and you do great work. However, at least based on my personal experience the constant stream of very similar work does kind of wear on you after a couple of decades. You do seem to do a pretty good job of trying to keep yourself fresh with your other endeavors. If I were not so close to retirement I suspect I would be searching for a different kind of subject matter just to break it up a bit. However, I'm getting old :)
You really do have to break it up! I'm doing all kinds of different stuff to keep me fresh. I'm shooting personal work on film with a 4x10. Taking a few classes here and there. And I just signed on to Shoot a feature film in October that will be 20 straight days of cinematography. After stuff like that, coming back to commercial interiors is like slipping into a favorite pair of well worn jeans.
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But, it's pretty impressive when they do "go for it" and cough up the fee. When you think about SOM or Fentress etc. spending mid-four figures on a shoot it just seems a little pathetic. But for a mid-size interior designer to spend that...it's a much larger sum to them. Makes me feel very motivated! I know what it's like to spend (what seems to me like) a large amount of money on something that might, or might not, pay off.
I think it should pay off. It is a shame that you build up a theater or $15 million house and you don't want to spend on photography which at the end is going to be the only record you have. Just imagine you design an amazing unique house and after 5 years the owner decided on remodeling and changing your initial design. The photographs that you have gain in value.
I was approach by an important movie theater company and they wanted "artistic" photographs of the new builds, after I quote for a day of shooting in each theater, I get a call from the marketing personnel saying that I had to do 20 to 25 images in 1/2 a day because they opened in the afternoon and they could not stop one day. And the price they thought was outragious.
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...the marketing personnel saying that I had to do 20 to 25 images in 1/2 a day because....
Hah. I recently received an inquiry from a marketing person for a high-end home furnishings retailer who wanted me to do 75-100 interior photos of one of their stores in 2-3 hours.
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Everyone wants something for nothing. I solved the "can you shoot 40 photos for day rate" problem by going to a flat rate pricing model.
X shot cost X dollars, y shot costs y dollars and so on. I can take all day or I can do it as fast as I can but the cost will be the same. I have no problem jamming in a whole bunch of photos in a day, I make way more money. Sadly it can effect the quality of the work but thats a choice for the client.
I found that when the customer started paying by the shot they became much more selective of the things that they wanted photographed. Volume when down but the quality went up and I think they put more thought into their photo requests now. I still make a lot more money this way over shooting day rate.
Sure my clients only use the images for a year and then they get tossed, so this model might not work for everyone, but I really hate doing day rate stuff, it always becomes a race.
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Interesting pricing model Craig. Good to see it works for you.
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Everyone wants something for nothing. I solved the "can you shoot 40 photos for day rate" problem by going to a flat rate pricing model.
X shot cost X dollars, y shot costs y dollars and so on. I can take all day or I can do it as fast as I can but the cost will be the same. I have no problem jamming in a whole bunch of photos in a day, I make way more money. Sadly it can effect the quality of the work but thats a choice for the client.
I found that when the customer started paying by the shot they became much more selective of the things that they wanted photographed. Volume when down but the quality went up and I think they put more thought into their photo requests now. I still make a lot more money this way over shooting day rate.
Sure my clients only use the images for a year and then they get tossed, so this model might not work for everyone, but I really hate doing day rate stuff, it always becomes a race.
When using a day rate or creative/assignment fee, you can gain control over the amount of time/number of photos involved by writing the scope of work carefully to make sure the client understands the limits. One suggestion that I might put into practice for some kinds of assignments is to create a schedule for the client, so everyone knows exactly what will be happening and when. Obviously would depend upon the type of assignment though.
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I'm about to order this rig from Hartblei. Stefan has created a nice little solution...
He reports...
14mm about 5mm Shift
18mm around 10mm Shift
24mm about 7mm Shift
So, while it doesn't have as much movements as dedicated Tilt/Shift glass, it can go Crazy wide and the idea of composing via zoom is pretty enticing (zero crop).
(https://fbcdn-sphotos-h-a.akamaihd.net/hphotos-ak-xpf1/t31.0-8/10683672_580181708760936_3506685091298568897_o.jpg)
(https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-xfp1/t31.0-8/10661779_580077868771320_2688421546915681875_o.jpg)
Jack Flesher has done a nice write-up at Get Dpi. (http://www.getdpi.com/wp/2015/03/h-cam-master-ts-adapter/) on the kit.
CB
Chris, did you end up ordering one of these?
I'm evaluating my camera bodies at the moment and this adapter is one big positive to switch from Canon to Sony due to the (almost) limitless TS possibilities with any lens. I'm missing a TS lens in the 40-60mm range, a focal lenght I uses a lot. I currently have to use a regular lenses and adjust perspective in PS and the Canon 45mm tse is not all that great so this would solve my problems.
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I had Stefan invoice me and was just about to pull the plug and then backed off. I think now, I would get the new Canon 11-24 instead. Stefan says it's way sharper than the Nikon. I've been focusing on rebuilding my camera system. My new Arca Universalis arrived Thursday along with a Hasselblad 40mm CFe. The Blad glass actually allowed more movements on the Sony than my Schneider 43mm XL. I think I'm moving to all Blad lenses from 40mm and longer.
I'll probably come back to that wide zoom, but am having a Canon mount made for the Arca, so I would forego the Hcam tilt/shift setup and just get the lens with the shade cut off.
CB
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Hi Chris,
Do you have the 40/4 FLE or the IF version? Very much different lenses.
Thanks for putting things into perspective…
Best regards
Erik
I had Stefan invoice me and was just about to pull the plug and then backed off. I think now, I would get the new Canon 11-24 instead. Stefan says it's way sharper than the Nikon. I've been focusing on rebuilding my camera system. My new Arca Universalis arrived Thursday along with a Hasselblad 40mm CFe. The Blad glass actually allowed more movements on the Sony than my Schneider 43mm XL. I think I'm moving to all Blad lenses from 40mm and longer.
I'll probably come back to that wide zoom, but am having a Canon mount made for the Arca, so I would forego the Hcam tilt/shift setup and just get the lens with the shade cut off.
CB
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I'll probably come back to that wide zoom, but am having a Canon mount made for the Arca, so I would forego the Hcam tilt/shift setup and just get the lens with the shade cut off.
Who is making the mount as this is the reason I stopped looking at the Universalis and Actus as I wouldn't be able to attach my Canon TS-E glass (or the new 11-24mm) for the wide stuff.
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While thinking again about getting a mini view camera I visited Cambo's site and noticed a new Canon lens mount due for release very soon that allows aperture control of Canon lenses. Imagine an Actus with the 11-24mm? No TS mount to obstruct the lens movements as with the HCam adapter sounds very interesting. I wonder if that could replace (and better) the 17mm and 24mm TS-E's?
CAMBO ACTUS Mini View Camera : ACB-CA (Available Q2-2015) (http://www.cambo.com/Html/products_photo/set01/english/internet/Item34418.html)
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/ACB-CA%20%28Available%20Q2-2015%29.jpg)
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Yeah, I was gonna post about that... decent solution. The lens mount Arca is working on will require their Micro-Processor Unit and Remote Control Unit, which is kind of a drag. SK Grimes is making me a dumb mount which is basically mating an extension tube to a lens board. I'll set the Canons at f/8 1/2 using my Metabones adapter and live with that for now.
The Blad 40 is a CFE. I believe it's a Non-IF (there's no Zeiss logo on the side). Either way it's performing damn well.
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Image shot for a client who wanted to showcase new exterior LED lighting.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/LED_Forum.jpg)
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the new hotness...
(http://christopherbarrett.net/forum_images/Universalis.jpg)
;)
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The Cambo Actus is a great little view camera. I've been using it with high-end enlarger lenses. I've got two mounts--one for a Sony A7 and the other for Olympus OMDs.
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Enlarger lenses seem really well suited to something like this, Bob. Small, light, built in Iris. What focal lengths are you using?
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Hi Chris
I am curious as to how this set up improves compared to you Arca set up? Do you see benefits in workflow or image quality? I would imagine the HR40 on an IQ260 gets you more shift than the Hasselblad 40 without the need to stitch on a Sony A7
I am wondering where you see an advantage given the fact that you got the Arca setup.
I am also experimenting with more electronic alternatives to my Alpa Max set up. I got a 35mm Contax mounted on an Alpa FPS that allows me to remotely trigger the system something I have been missing on my Max and is often essential to my work so a Sony back up or parallel system would be great if it would reduce weight and size without compromising on IQ and the ability to shift.
The Hcam TS mount seems to really make a difference in ease of set up and weight comapred to Arca/ Alpa / Cambo set ups.
But seeing your Sony , Arca , Hasselblad set up makes me wonder as to where you see an added benefit over you already existing set up
Thanks
Grischa
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Grischa, it's all been about workflow efficiency on set. Having a really workable Live View has made work much more enjoyable. I'm able to achieve critical focus more quickly. I can compose more accurately. Also, when the designers and art directors I work with are working on propping, they immediately transitioned to just walking over and looking at the back of the camera instead of waiting for me to grab a new capture for every adjustment.
The image quality is not on par with my IQ 260, but then, I bracket and composite for every shot I do, and after 6 months of shooting strictly on the Sony, I've seen no loss in image quality with my deliverables.
I didn't use the HR 40, but rather the SK 43mm XL. The Blad 40 actually allows greater movements with the Sony. This is due to it's greater rear focal distance, as the camera body begins to vignette the image circle of the Schneider at around 20mm of shift. I've never really used more than 12mm of shift on that lens anyway, so I have way more movements available to me than I need. Also, because of my workflow, I never stitch images.
For wider shots I use the Canon 17 and 24. I'm having a Canon lens board made, so that I can use those on the new Arca and have better movements than what are available on the lenses themselves.
I've almost bought that Contax a few times now... I'm on the fence though and considering the Pentax as well.
Cheers,
CB
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thanks Chris
that makes sense. IQ 260 Live view as decent as it is for framing is not something thats ready for prime time (meaning client viewing)
I do mostly luxury retail and hospitality so for retail my clients are never on set so Liveview is sufficient for Hospitality tethering is crucial for styling and lighting issues.
The Hcam for Canon looks very promising but the real shift advantage is at 15mm according to Stefan, thats way too wide for my clients and my personal taste. Having said this my own "Frankencamera" FPS, Canon mount , TSE 17, 24 and Contax plus Mirex Canon mount) saved my butt on some store fronts where I needed to stitch with the 17TSE.
Just as a set up compared to the one you posted where the Blad lens is connected to the Arca I wonder couldn't you simply shoot the A7 with Canon TSE's directly mounted to the camera instead of using the relatively large Arca body in-between if you don't stitch and are not in need of excessive shifts?
One added benefit I see of the A7 set up is the ability to use shorter exposure times. My IQ260 heats up considerably in fast paced interior shoots with bracketing exposures and often non air conditioned retail spaces (overnight). I can only use 50 ASA and thats adding to time due to the longer exposures.
Time management is extremely crucial oftentimes.
anyway I like this thread of brand agnostic ideas helping to get the job done without the need for the constant format bickering over at the MF forum. Lets hope it remains undiscovered for a while longer :-)
greetings from Hong Kong
Grischa
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I ditched my Phase and Arca system for the very same reasons as Chris. The workflow was just a PITA and while the files were fantastic the work involved in getting there was tiresome,especially as Chris says when working with clients on set who keep making small changes to the shot. I got the new wide Canon TS-E glass as a substitute but went back to my Canon 1Ds3 and have been really missing the detail in the files but have held off on a Sony A7R to see what happened this year with Canon and Sony's megapixel monsters.
Even with the TS-E lenses they lack some important movements as I often want to shift the lens up to down and right or left but can only do one of these movements when the lens is directly attached to the camera where the Arca and Cambo mini view cameras solve this problem. I also think you get a better range of lenses and the Hasselblad 40mm Chris is using is a good example. I'd love to be able to try some of the Contax 645 lenses to see how they work out - the 35mm and 45mm especially but I think they would need a Hasselblad adapter converter to allow use on the Arca and Cambo.
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Even with the TS-E lenses they lack some important movements as I often want to shift the lens up to down and right or left but can only do one of these movements when the lens is directly attached to the camera where the Arca and Cambo mini view cameras solve this problem.
HI Gazgas, if you shift up on the Canon TS-E and then rotate 45 degrees, you get similar to a view camera.
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Yeah, that is a drag. Sometimes you have everything lined up and just want a slight change in one direction. This is where view cameras shine over tilt/shift lenses. Also, Canon has the best, most flexible ones, but still.. if I have a diagonal shift on (shift + rise) I can't get a perfectly horizontal swing. Truly independent movements are key.
And then there's the opposite end of the spectrum... A7r with Canon 17-40 zoom. No movements at all, heh. From a couple weeks ago in New York.
(http://christopherbarrett.net/forum_images/NYMEX_Dusk.jpg)
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Chris,
How are you finding the 'centering' of the A7r?
Is it time consuming, when you're switching between landscape and portrait?
Cheers
Andrew
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A link to pdf's of 5 brochures we worked on last winter....
http://www.craiglamson.com/starcraft.html
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Yeah, that is a drag. Sometimes you have everything lined up and just want a slight change in one direction. This is where view cameras shine over tilt/shift lenses. Also, Canon has the best, most flexible ones, but still.. if I have a diagonal shift on (shift + rise) I can't get a perfectly horizontal swing. Truly independent movements are key.
And then there's the opposite end of the spectrum... A7r with Canon 17-40 zoom. No movements at all, heh. From a couple weeks ago in New York.
(http://christopherbarrett.net/forum_images/NYMEX_Dusk.jpg)
Great image. By the view, I guess this was in Long Island City?
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A link to pdf's of 5 brochures we worked on last winter....
http://www.craiglamson.com/starcraft.html
Nice Craig.
Although, I am trying to figure out how you exactly wash yourself, or relieve yourself, in that first triangle shaped trailer. ;D
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Thanks Joe... we were right by World Trade with a view to Jersey I believe.
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Nice Craig.
Although, I am trying to figure out how you exactly wash yourself, or relieve yourself, in that first triangle shaped trailer. ;D
Must think of it as a tent on wheels that has hard sides. The shower/toilet is tight to be sure but most people camping in a campground use the park facilities.
I've been shooting these things for almost three decades and never have owned one. We have always preferred a tent. However I'm almost too old for the tent now :)
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Here is an image from a shoot last week with a blog post going over the lighting (http://www.josephmkitchen.com/blog/2015/5/20/bright-sunny-even-with-northern-windows).
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Craig, those look great! Love the exteriors on the covers.
CB
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Terrific images. That is a dream I have I want to realize when I retire from my current job.
How come that some look like synthetic images made by computer rendering or however it is called ?
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Yeah, that is a drag. Sometimes you have everything lined up and just want a slight change in one direction. This is where view cameras shine over tilt/shift lenses. Also, Canon has the best, most flexible ones, but still.. if I have a diagonal shift on (shift + rise) I can't get a perfectly horizontal swing. Truly independent movements are key.
And then there's the opposite end of the spectrum... A7r with Canon 17-40 zoom. No movements at all, heh. From a couple weeks ago in New York.
(http://christopherbarrett.net/forum_images/NYMEX_Dusk.jpg)
Wow, you got a lot out of that 17-40. Perfect exposure of the skyline. Makes the image. And not single point perspective ;)
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Terrific images. That is a dream I have I want to realize when I retire from my current job.
How come that some look like synthetic images made by computer rendering or however it is called ?
Not sure, I guess it's my post, but one of my net friends from Germany does 3d modeling and he says the same thing. I'm not sure if it's a good thing or a bad thing...
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Craig, those look great! Love the exteriors on the covers.
CB
Thanks Chris. The weather made shooting the covers tough. One good thing....the sun sets early in the winter. Doing those in the summer is a late night job. You can wear shorts and flip flops instead of a down coat and heavy gloves....so that's a plus.
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Here is an image from a shoot last week with a blog post going over the lighting (http://www.josephmkitchen.com/blog/2015/5/20/bright-sunny-even-with-northern-windows).
A great tutorial!
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A great tutorial!
Thanks Craig. I have been trying to discuss more of the process, or at least show it. Part of my client education campaign.
Well anyway, in the spirit of keeping it loose and switching it up every now and then, here is another blog I posted today on personal work. Keeping It Loose With Personal Work (http://www.josephmkitchen.com/blog/2015/5/21/keeping-it-loose-with-personal-work)
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Here is an image from a shoot last week with a blog post going over the lighting (http://www.josephmkitchen.com/blog/2015/5/20/bright-sunny-even-with-northern-windows).
Joe,
I really like that in your blog, you present a sequential series of images that show how you "built" the lighting in the final image. Very impressive, smart demonstration of your value added as a skilled pro.
Brad
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Joe,
I really like that in your blog, you present a sequential series of images that show how you "built" the lighting in the final image. Very impressive, smart demonstration of your value added as a skilled pro.
Brad
Thank you Brad. It actually has been helping a lot when talking to perspective clients. When they ask why do you need lighting equipment or why does it take so long to set up an image, I can direct them to those posts while on the phone.
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From a recent mall shoot in Montana:
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From a recent mall shoot in Montana:
Slobodan,
I like the use of the mirror. Was the exterior done in the early morning?
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Slobodan,
I like the use of the mirror. Was the exterior done in the early morning?
Yes, I found the mirror god-sent. Provides for a graphic, semi-abstract rendering of an otherwise drab mall corridor. The second shot was at dusk actually.
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Hi Slobodan,
I like your images, seems that you have a good eye for things. Thanks for sharing!
Best regards
Erik
Yes, I found the mirror god-sent. Provides for a graphic, semi-abstract rendering of an otherwise drab mall corridor. The second shot was at dusk actually.
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Image from a project this week, shot with my now work horse Actus, A7r and Hassy 40mmCFI. Chris B, you asked a while ago about the 35mm Contax PC, honestly, I have not been using it much, although it's not bad I am preferring to use my Schneider 35xl and deal with less movement and the lcc. I find with the Contax I have more issues with flare from windows, exteriors it works well.
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Here's one from last winter -- shooting a new retail outlet (Eddie Bauer) 5 days before Christmas Day, in San Francisco's busiest shopping district....so exteriors were, uh, DIFFICULT. Normally I'd go with multiple exposures and plan to blend in areas with no people. In this case, there was a solid crowd of people streaming past, non-stop! Shooting from across the street was pretty much impossible because of the non-stop cars and people crossing in front of me. I moved close, and my assistant tried to go stop folks long enough for me to shoot, but they were coming from like 3 different directions, haha! Eventually he was able to break up the crowd enough for me to get mostly what I needed, and I photoshopped out a few tourists to get the final. Sheesh!
Fortunately, we were able to shoot the interiors during the wee hours of the morning.
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Image from a project this week, shot with my now work horse Actus, A7r and Hassy 40mmCFI. Chris B, you asked a while ago about the 35mm Contax PC, honestly, I have not been using it much, although it's not bad I am preferring to use my Schneider 35xl and deal with less movement and the lcc. I find with the Contax I have more issues with flare from windows, exteriors it works well.
David, nice. Good seeing people DOING things and not just staring into space or blurrily walking by.
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Here are a couple from a recent project that was kind of a lighting challenge, and a blog post to go along with them (http://www.josephmkitchen.com/blog/2015/5/28/a-lighting-challenge-in-a-basement).
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Hey Joe,
Really great description, and clean images! Nice work.
Pretty tough to hide all the lights and reflections off glass. You've done this pretty well I think.
I'm looking at the second one, and also the floor plan....Trying to work out where the wall on the left of frame is...did the floor plan change?
Cheers
Andrew
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Hey Joe,
Really great description, and clean images! Nice work.
Pretty tough to hide all the lights and reflections off glass. You've done this pretty well I think.
I'm looking at the second one, and also the floor plan....Trying to work out where the wall on the left of frame is...did the floor plan change?
Cheers
Andrew
Thanks Andrew, glad you like them.
By the way, that is not a wall, it is a support column with wood panels. It is represented by a plain square in the row of chairs. Kind of hard to make out though since the chairs are pretty square too. Overall the architectural design is exactly represented by those plans, but the furniture design did change a bit.
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Right....Got that now.
Thought it would have been a heavier weighted line. I wonder if the furniture supplier supplied on extra chair...
I hope the client was there so they could see how much work went in to making these images.
Cheers
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Right....Got that now.
Thought it would have been a heavier weighted line. I wonder if the furniture supplier supplied on extra chair...
I hope the client was there so they could see how much work went in to making these images.
Cheers
Actually I have been working with this firm for at least 5 years now, and they are one of my best clients, and they have never been to a full shoot. At most, they meet me there, get me started and leave shortly afterwards, but even that is rare. Kind of made me nervous when I first started working with them, but now it is kind of no big deal.
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Trust.
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Hi Joe, Interesting lighting set up. I tend to like the second image best. I like the symetry and the lighting balance.
I think it should be an interesting discussion topic how people handle equipment loads, rentals, truck rentals and traveling costs.
Do you flight with all your equipment or Fedex it.
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Hi Joe, Interesting lighting set up. I tend to like the second image best. I like the symetry and the lighting balance.
I think it should be an interesting discussion topic how people handle equipment loads, rentals, truck rentals and traveling costs.
Do you flight with all your equipment or Fedex it.
Thanks Antonio, and I like the 2nd better one too. I keep on looking at the first and half liking the light from the magnum reflector and half thinking I could have placed it better. ???
Insofar as travel, I have yet to be hired to shoot a job that would involve flying. The furtherest I have gone is Cleveland, which is a 7 1/2 hour drive. I figure I will loose a day getting there and a day getting back if I fly regardless, so if I can get there by car in a day or less, why not drive.
I have priced out projects that would have required flying, and in those cases I priced out having my equipment shipped. I did initially look into traveling light and renting what I needed when I got there. However, all the projects I have priced out like this so far have been for resorts, and resorts tend to be in the middle of nowhere with no adequate rental houses nearby.
I think Chris would have better advice here since he travels much more than most photographers.
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Joe thanks for the reply, what I see in the first image is that the center needs more light coming from inside, like if it was its natural ceiling light. In the second image you managed to get it right in that same spot.
It is easier to say than done I know.
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This is generally how we fly... checking 13 bags and carrying on the camera.
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtf1/v/t1.0-9/21790_10205375066151182_8662041226852972006_n.jpg?oh=d121847be9dd96268cd9284d937a1817&oe=55C3D9FF)
American and United (and some other carriers) offer a break for film crews and photographers... $50 a bag. It usually costs me $1000 round trip just for bags every time we fly. I believe it would actually be more to ship it
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So I head out with a total of 8 pieces, plus a shoulder bag with my laptop and travel documents etc. Southwest and most airlines will honor a card with the word "Media" printed on it (ASMP cards are designed for this purpose) and waive the extra weight fee, so it's safe to assume $50/bag for domestic flights. Usually. I've had ticketing agents argue with me even when I had printouts from their own airline's website with the policy clearly stated.
Anyway, I carry on the camera case and my laptop, my assistant carries on the Filter case and his personal luggage. I "claim" 2 checked bags, and he "claims" 2 (Southwest allows 2, I have Gold-Press Latinum status with AA and BA and Quantas which gets me the same thing) and that means I'm actually only paying for a couple of checked bags. This can largely offset the cost of my PA's ticket, on a domestic flight.
I've got a video with all the gear and how it's packed, here:
https://vimeo.com/126571213
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Thank you guys great info.
One thing that had happened to me is even in soft bag, my Manfrotto camera tripod was damaged, something hit one of the legs.
I guess this is not very common but happens. I'm thinking more on hard cases.
Scott I love your antique scale, one of a kind!
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Antonio, I love that thing!
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Lots of great information on traveling. $50 per bag is a little more then what I priced out with shipping, however not too much more. Something to keep in mind should I ever get hired to travel.
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I would rather have the equipment shipped if posibble if the rate is aceptable. Going through airports with that load is not very friendly.
Any one experience shipping Fedex?
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Shipping your gear only works if you've got nothing else to do for a few days before and after the gig. Also, ship it to whom? Not ever client is OK with storing your stuff, even overnight. And then you've got to plan on extra time after the gig to take it all to a Fedex or UPS or whatever drop-off point, which depending on where you're going could mean spending an extra day there....which means another night of hotel and meals and car rental.
That's the problem also with renting gear on location. Even assuming the local rental house actually has what you need (tell them you need a 1000-watt strobe and they'll substitute a 1000-watt hotlight. And think it's totally OK. Voice of experience, here), you are going to have to go pick it up, and then return it. Translates to extra nights in a hotel and can eliminate the savings.
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Yeah sounds reasonable Scott. I added a Bowens 3000w/s power pack and 2 heads to my load, it was practically never used and works as charm, but is heavy. Two month ago I rented 2 Profoto 2400 Power Plants and they were so heavy. So thinking about these kind of equipment is that I worry.
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I find packs frustrating for interiors, they really limit where you can place lights. I went to monoblocks 20 years ago. The Profoto D1's are hard to beat. I initially bought ten, but have scaled my kit down to six. I get 4 in a case (Versaflex MU 1720 (http://www.versa-flex.com/casesbags/multiuseformatcases.html)'s offer more protection than the Lightware I used before) with cables and it's under 50lbs.
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I would like to know specifically why people these days are using pack strobes, either exclusively or in combination with monolights, versus only monolights for interior/architectural work. I can think of some reasons, but I would like to hear various people's specific reasons for their own photography.
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Personally, I can't imagine. Let's say you get a Profoto Acute setup, which is their cheapest and lightest. For a 2400ws pack and three heads it's $6300 and 27lbs. If you get 3 D1 1000ws mono's, you're at $4850 and 19 1/2 pounds (plus an extra 600ws of power!). The D1's also give you truly independent head control with digital variators at 1/10 stop through the range.
It was a no-brainer for me.
IMHO,
CB
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Personally, I can't imagine. Let's say you get a Profoto Acute setup, which is their cheapest and lightest. For a 2400ws pack and three heads it's $6300 and 27lbs. If you get 3 D1 1000ws mono's, you're at $4850 and 19 1/2 pounds (plus an extra 600ws of power!). The D1's also give you truly independent head control with digital variators at 1/10 stop through the range.
It was a no-brainer for me.
IMHO,
CB
Okay, well, two reasons I could think of would be that, in some situations, it might be more convenient or effective to have more power coming from a single light source, and large pack strobes can put out more power than the most powerful monolight; and, if you need to put a strobe on a boom, you don't need as much weight to balance it with a pack head, compared with a typical monolight.
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I would like to know specifically why people these days are using pack strobes
I shoot with Bron Move battery packs and the main reasons why I like this pack better than a mono is independence from the mains and a biggy is the size of (or lack of) the heads. I can alao plug in my Pulso and Unilites into them and have full compatability with all existing modifiers. I also like the bare bulb of the Bron's or Pro/Acute head over the D1/B1.
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I've gone back and forth on it many times over. Now, I have some of both....for some reason. I think mono's are much harder to "hide" in small places than the little Road Heads I use on my Dynalite Pack (1600 watts; 7.2lbs. Road heads are less than 2lbs each). Without the bulk of the Monoblock I can squeeze them into a smaller profile.
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I prefer packs and heads (or maybe that is just what I have and do not know any better). Like Scott, I like the smaller profile of just a head and have been able to fit them into pretty tight spaces. Also, having the ability to pump a full 2400 w/s through one head can be an advantage.
Something else I have been told (and I am not sure if this is true), a pack's motherboard and capacitor will likely last longer and be more durable then one in a mono block.
Last, I did look at the latest Profoto mono's when they came out. Somethings I found kind of annoying was you could not do straight up ceiling bounces, and you could not directly attach their reflectors and soft boxes without a dome adapter. I found this kind of odd.
With that said, I do like the overall lighter weight of the mono's.
Also, the reason I could go with Profoto was because my girlfriend and I split the price of the lights and share them. She is a studio shooter and would not want to use mono's.
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I think it can also come down to what you shoot and your particular needs. Since I do a lot of commercial spaces which are larger, I have to be able to separate my lights, often over great distances.
In the shot below I have one head coming through a silk in mid-ground right. Two more through silks mid-ground left. There's another in a softbox in the back, backlighting the tall white chairs and the last is a direct head raking across green furniture behind that. This would have required 4 packs, each with it's own head. With 4 or 5 monos scattered through the scene, all I need to do is find AC power. I rarely seem to find myself needing to hide a strobe. I also mix in a lot of hotlights, mainly Dedo 150's, so those are my smaller, hideable units.
(http://christopherbarrett.net/forum_images/150501_006.jpg)
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Chris, that makes perfect sense. Even using head extension cables I can only get things so far apart (and then there's the issue of hiding the cables).
Residential work rarely brings up any such issue, but for sure it's a problem in bigger spaces, and as I'm starting to get more of that kind of project I'm going to have to adapt.
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Curious about how often you need a lot of power with strobes that you are hiding in tight spaces. Wouldn't something like Quantums work well for this, and be a lot lighter too overall in the kit? Of course you can use the packs for more things.
And, re. spreading out pack heads with extensions, aren't you losing a lot of power that way? Perhaps not such a big deal with 3,000ws packs these days, but perhaps with more compact packs?
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In the shot below I have one head coming through a silk in mid-ground right. Two more through silks mid-ground left.
Chris, how are you stretching those? You're not carrying around a bunch of hollywood frames, I assume. Do you just tie it off to existing stuff (desks, columns, doorknobs etc.) or are you doing lightstands, or what? I've been clamping mine loosely between 2 lightstands but it's pretty sketchy, even with some sand on the stands.
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Chris, how are you stretching those? You're not carrying around a bunch of hollywood frames, I assume. Do you just tie it off to existing stuff (desks, columns, doorknobs etc.) or are you doing lightstands, or what? I've been clamping mine loosely between 2 lightstands but it's pretty sketchy, even with some sand on the stands.
Between lightstands without a crossbar? Why not just use a crossbar that you would use to create a background stand and just clamp to that?
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Between lightstands without a crossbar? Why not just use a crossbar that you would use to create a background stand and just clamp to that?
We carry 2 12x12 silks. I got background kits from Calumet meant to support 12' seamless. What's nice about these is that when the stands are lowered (with silk attached) and the silk is clamped up to the crossbar, one person can move the whole shabang. Only usable indoors, though.
(http://static.bhphoto.com/images/images500x500/14755.jpg)
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I mainly rely on Elinchrome monolights.
In some locations I have needed 2 or 3 powerful lights, mostly when pushing light through outside windows and that's when the packs had come come into play.
Some examples:
For this image I used 3 power packs, 2 profit 2400 and 1 Dynalite 1600 coming from the left windows at full power, and 3 monolights coming from the right.
(https://dl.dropboxusercontent.com/u/10120389/BK020515_03_02.jpg)
This image I had 2 power pack coming from the right at 1500 ws and 6 moonlights in different places to the right.
(https://dl.dropboxusercontent.com/u/10120389/Com_14.jpg)
(https://dl.dropboxusercontent.com/u/10120389/AltonRD/_DSC6492.jpg)
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We carry 2 12x12 silks. I got background kits from Calumet meant to support 12' seamless. What's nice about these is that when the stands are lowered (with silk attached) and the silk is clamped up to the crossbar, one person can move the whole shabang. Only usable indoors, though.
(http://static.bhphoto.com/images/images500x500/14755.jpg)
Awesome. Think I'll DIY up something along those lines, thanks! I've been tying/clamping/taping/handholding my rags and it's getting pretty old.
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The kit I got had a collapsible crossbar. We carry them in these long Lightware cases, two of them on the left side of this shot. Each case holds 3 tall stands, 1 crossbar, 1 12x12 silk, 2 smaller diffusion panels (3x6) & some other odds and ends.
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtf1/v/t1.0-9/21790_10205375066151182_8662041226852972006_n.jpg?oh=eda557c78863769c08e19481cb701768&oe=55EB66FF)
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The kit I got had a collapsible crossbar. We carry them in these long Lightware cases, two of them on the left side of this shot. Each case holds 3 tall stands, 1 crossbar, 1 12x12 silk, 2 smaller diffusion panels (3x6) & some other odds and ends.
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtf1/v/t1.0-9/21790_10205375066151182_8662041226852972006_n.jpg?oh=eda557c78863769c08e19481cb701768&oe=55EB66FF)
I've had a similar set for a couple of decades but I took the crossbar and opened the holes on the end up a bit so it would fit easily over the top of a standard Manfrotto/Calumet light stand lug. That way I could take 2 extra standard stands and they could do double duty. The stands that came with the background set were pretty much useless for anything else.
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For years when I had the studio I used Speedotrons, big-heavy packs but powerful and durable. I was mostly a hot light guy so the strobe only got used when people were involved.
Fast forward to the new reality....the studio is gone, and I shoot entirely on location. I started by trying to continue to do the hot light thing but a dark space and plenty of power were uncommon in a standard factory environment. I know I had to go strobe.
Forget the speedos :) I needed small. Even though many think they are silly I found the Alien Bees to perfect fit. They are small...I can hide them almost as easily as a Pepper. They are light, easy to pack, really durable and best of all the price almost makes them disposable. Not that you would need to do that since Buff's service is simply amazing and cheap. A head that crashes to the floor from the top of a 13 foot stand costs 75 bucks to repair, not counting the tube and model light.
We travel by mini van and space is still at a premium since we need to carry all the props to shoot two trailers a day. That means 18 plastic tubs of props plus computer and photo equipment. I carry 12- AB1600. I can get 5 heads, cords and 7" reflectors in Lightware V4000 view camera case. I do that times two. I also carry 2 AB1600 with a Vagabond Mini Battery in a Lightware MF1217. The 12 heads and the battery cost $4800.00 Not bad for a lot of lightweight light.
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I can hide them almost as easily as a Pepper.
OK, gotta ask.
My assistant also works on a lot of film sets and we've been arguing over "pepper" for a year now. I think a Pepper is any kind of small electronic flash, mostly the kind you could mount on the hotshoe of an SLR (e.g. "speedlight"). He thinks it refers to strobes made by a specific brand name I can never remember. What do YOU think this means? I've got a 6-pack riding on this if I can convince him I'm right.
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OK, gotta ask.
My assistant also works on a lot of film sets and we've been arguing over "pepper" for a year now. I think a Pepper is any kind of small electronic flash, mostly the kind you could mount on the hotshoe of an SLR (e.g. "speedlight"). He thinks it refers to strobes made by a specific brand name I can never remember. What do YOU think this means? I've got a 6-pack riding on this if I can convince him I'm right.
http://www.bhphotovideo.com/c/product/125371-REG/LTM_PH_154B_Pepper_100W_Fresnel.html
You both owe me a six pack. :-)
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http://www.bhphotovideo.com/c/product/125371-REG/LTM_PH_154B_Pepper_100W_Fresnel.html
You both owe me a six pack. :-)
I'll take one too:)
Peppers are great until the focusing worm screw gets rusty from the heat then they are hard to focus. I used them in 200 and 420 watts.
Shall we do "redheads" next? I love those too.
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Beers all around....
Alan (my PA) had it right; he was not saying strobe after all.
Now I've gotta go find Mark Costantini (former PJ from the San Francisco Chronicle) and tell him he taught it to me wrong!
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Next up... define "Inky"
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Next up... define "Inky"
too easy...
http://www.bhphotovideo.com/c/product/167187-REG/Mole_Richardson_2801_Mini_Mole_Fresnel_Tungsten_Light.html
(http://static.bhphoto.com/images/images750x750/167187.jpg)
lets add tota's and zips :)
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I've been saying "Inky" for any small-wattage fresnel light. Arri, Dedo, Mole...
Let's not forget the Blondes.
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I've been saying "Inky" for any small-wattage fresnel light. Arri, Dedo, Mole...
Let's not forget the Blondes.
A lot of people do...on both counts.
Blondes....aren't those redheads with bigger globes?
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http://www.barnesandnoble.com/w/strike-the-baby-and-kill-the-blonde-dave-knox/1112376938?ean=9780307421722
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too easy...
http://www.bhphotovideo.com/c/product/167187-REG/Mole_Richardson_2801_Mini_Mole_Fresnel_Tungsten_Light.html
(http://static.bhphoto.com/images/images750x750/167187.jpg)
lets add tota's and zips :)
Sort of on the subject, I have seen a number of APs who are using the Lowel VIP Pro lights as their mini halogen lights and wonder why, since these lights don't have the same light quality as do fresnels. Yes, these lights are a bit less expensive, but I wouldn't think that would be that much of a difference for an AP who has plenty of way more expensive equipment in the kit.
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My assistant, who also shoots architecture, got the Lowel Pro Lights. They are cheap and you can fit a ton in a case. I like their light quality. Not a fresnel but but nice and smooth. For me... after getting DedoLights, nothing else will do.
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The latest gear..
(https://dl.dropboxusercontent.com/u/10120389/Screen%20Shot%202015-06-07%20at%203.47.12%20PM.png)
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The latest gear..
(https://dl.dropboxusercontent.com/u/10120389/Screen%20Shot%202015-06-07%20at%203.47.12%20PM.png)
Looks like an old 4x5 Field camera (in pretty good condition).
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That's from the 1960's "Blow Up" movie.
The movie itself is not big deal. Just curious
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That's from the 1960's "Blow Up" movie.
The movie itself is not big deal. Just curious
Blow Up changed my life.. Jim
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My assistant, who also shoots architecture, got the Lowel Pro Lights. They are cheap and you can fit a ton in a case. I like their light quality. Not a fresnel but but nice and smooth. For me... after getting DedoLights, nothing else will do.
Chris, Are you using the LED Dedo lights? Jim
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Blow Up changed my life.. Jim
Jim there was another european movie from the 70's. The guy had a Pentax 67 and shoot models and did montages with them, that's where the trama starts, I just can't remember the title, well that movie changed my live. I wish I could find it and watch it again.
Another great movie, more recent is Palermo Shooting (2008).
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These guys, Jim. Best inky on the market. Uses 12 volt bulbs that last forever.
(http://www.thelightingzoneinc.com/Images/img-specialty.png)
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Yep....those are the inkies of my dreams. Something like $750 a pop, though last time I looked. Too rich for my blood!
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Heh, we carry 6 of them and my assistant and I are often fighting over the last one!
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These guys, Jim. Best inky on the market. Uses 12 volt bulbs that last forever.
(http://www.thelightingzoneinc.com/Images/img-specialty.png)
So I've got something like 14-16 Mole inkies and close to the same number of 1k's and 2k's, how do the Dado lights differ from the Moles? Jim
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So I've got something like 14-16 Mole inkies and close to the same number of 1k's and 2k's, how do the Dado lights differ from the Moles? Jim
I can not speak from experience, but I have been told that they maintain a consistent color temp when you dim them down. Most other hot lights become warmer when you use a dimmer.
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Actually they do yellow like any other tungsten you dim. The advantage to Dedos are the optics. They provide a much more intense spot, easily equal to an Arri 300, but @ 150 watts.
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I know there must be a noticeable difference, they are available for rent in the area. I've been using Mole lighting for so long I doubt a brand of light would make a big impact in the work but it can't hurt to give it a try. I rented my stage recently to a Swedish still life photographer who brought with him LED Dedo's which he felt were the best around. Jim
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Just found this video comparing the Lowel, Arri, and Dedo small fresnels.
https://www.youtube.com/watch?v=ebHqtHFMrMk
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Getting back to theme of this discussion, here are three images I shot two weekends ago, and a blog post to go with them, "My 1st Trip To the Hospital." (http://www.josephmkitchen.com/blog/2015/6/9/my-1st-trip-to-the-hospital)
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Just found this video comparing the Lowel, Arri, and Dedo small fresnels.
https://www.youtube.com/watch?v=ebHqtHFMrMk
The Dedo has a much greater focusing range and a more defined spot. However, overall, I think I prefer the light distribution of the standard fresnel design.
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The Dedo has a much greater focusing range and a more defined spot. However, overall, I think I prefer the light distribution of the standard fresnel design.
I always liked the falloff from a fresnel, I used it to my advantage often. I do miss working with hot lights. I only wish good, small fresnels were available for strobe.
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You know about this one?
http://www.bacht.net/cms/cms/Range-of-Products/Studioequipment/fresnelspots/index-b-2-49-100.html
Best,
Johannes
Was not aware but that is just a bit pricey for my wallet. And you need a pack.
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Getting back to theme of this discussion, here are three images I shot two weekends ago, and a blog post to go with them, "My 1st Trip To the Hospital." (http://www.josephmkitchen.com/blog/2015/6/9/my-1st-trip-to-the-hospital)
Like, like, like.
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Hi Joe,
I've always thought when shooting hospital interiors, much of the story is about linking the various spaces visually, so the programmatics of the spaces are evident.
You've done this really well here.
AL
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Hi Joe,
I've always thought when shooting hospital interiors, much of the story is about linking the various spaces visually, so the programmatics of the spaces are evident.
You've done this really well here.
AL
Same goes for corporate interiors. It's all about space plans and adjacencies.
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I was at the airport today shooting a Lear 60...I kind of liked this one.
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Moody,
When I clicked on it and it came up in the separate window I had a square crop....looked great.
Bottom LHC just below the pinstriping.
I zoomed out, but zoomed back in...sort of don't feel you need the undercarriage?
Let me know what you think.
Andrew
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Moody,
When I clicked on it and it came up in the separate window I had a square crop....looked great.
Bottom LHC just below the pinstriping.
I zoomed out, but zoomed back in...sort of don't feel you need the undercarriage?
Let me know what you think.
Andrew
Thanks
I looked at it as a square but I thought having something for it to stand on made sense. I have a horizontal without the landing gear and I like it too. Choices, choices...
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Thanks Antonio and Andrew.
Like the image Craig and the light and the sky. I agree with Andrew though about the landing gear.
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I think I MIGHT be done buying glass for the new Sony based architecture kit... oh and look... A7r II... just in time :)
(http://christopherbarrett.net/forum_images/GLASS.jpg)
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I think I MIGHT be done buying glass for the new Sony based architecture kit... oh and look... A7r II... just in time :)
That looks like it MIGHT be a full stable?
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Chris, how does the CFi 50mm compare to the 40mm (resolution and distortion)?
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So far, I've been quite impressed with the 'Blad glass. I've only done preliminary testing at home, though. I'm shooting all week starting Sunday and will put the new gear through the ringer.
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I think I MIGHT be done buying glass for the new Sony based architecture kit... oh and look... A7r II... just in time :)
(http://christopherbarrett.net/forum_images/GLASS.jpg)
Chris I'm happy with your set up except for the Canon 17-40, I had that lens and it gave lot's of problems. The focus in not performed uniformly across the frame and for architecture that's a problem.
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Chris I'm happy with your set up except for the Canon 17-40, I had that lens and it gave lot's of problems. The focus in not performed uniformly across the frame and for architecture that's a problem.
I have found a number of Canon 17-40 zooms to have uneven sharpness from side to side, but I don't think that is the fault of the basic lens design. I think it is either a manufacturing defect or the lens has gotten out of alignment. In any case, the Canon 16-35mm F:4 lens is far superior to either of Canon's other offerings in this general focal length range, and is a superior lens by any standards.
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I picked up that zoom years ago, intending it would just be for scouting jobs. I've used it 2 or 3 times for actual shots and it's always performed quite well.
As in this one I posted a couple weeks ago...
(http://christopherbarrett.net/forum_images/NYMEX_Dusk.jpg)
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I picked up that zoom years ago, intending it would just be for scouting jobs. I've used it 2 or 3 times for actual shots and it's always performed quite well.
As in this one I posted a couple weeks ago...
(http://christopherbarrett.net/forum_images/NYMEX_Dusk.jpg)
My copy is fine as well.
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Another from the Lear 60 shoot the other day...
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Nice!
Erik
Another from the Lear 60 shoot the other day...
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Shot these in March, client thought they were going to get them published but then decided they didn't have time to pursue it...so they're off embargo. I kind of liked these...the staircase one is in my promo card. There's a bunch more on my blog but these were the heroes.
Oh, and....just because everyone I've shown these to has asked: no, we didn't photoshop in the art on the wall, and no it's not a TV. Pretty sure it was a Giclee print.
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Number one is sweet, Scott.
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Hi,
I am on the verge of ordering my A7rII now. I will use my existing A-mount lenses to a great extent and also the Hasselblad lenses. The new lenses I will add are the Zeiss Batis 1.8/85 and the Canon 24/3.5 T&S. I have all the Hasselblad lenses you have, but some are older CF-versions. I also have the 120/4 CFI, 180/4 CFi and a 100/3.5 CF.
Best regards
Erik
Chris I'm happy with your set up except for the Canon 17-40, I had that lens and it gave lot's of problems. The focus in not performed uniformly across the frame and for architecture that's a problem.
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I'm so exited with the new A7RII, looks like a winner camera. Hope to see some RAW images of it soon.
Erik, with the old Hasselblad you provably do old right, maybe some CA is posible but easy to correct.
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Hi,
I agree on the CA thing and it may not be easy to fix on shifted images. My interest is more like tilt than shift.
I would expect the Canon 16-35/4L to be a good lens, preferable to the 17-40.
Best regards
Erik
I'm so exited with the new A7RII, looks like a winner camera. Hope to see some RAW images of it soon.
Erik, with the old Hasselblad you provably do old right, maybe some CA is posible but easy to correct.
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Hi Chris,
I am planning to buy the Canon 24/3.5 TSE to be used with the A7rII, but it may be that the 17/4 be more usable. What is your take? The simple answer is buying both, but it wouldn't fit in my short term budget.
Best regards
Erik
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Erik, i have both the 17 and 24mm TS-E lenses. The 17mm is used twice as much. You can´t go wrong with either one.
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Hi,
That was the kind of information I was asking for! I may buy the 17/4 first… A couple of days until decision time!
Best regards
Erik
Erik, i have both the 17 and 24mm TS-E lenses. The 17mm is used twice as much. You can´t go wrong with either one.
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I have both and use the 24mm way more than the 17mm.
The 17mm is a must have lens but the 24mm is the first lens I attached to my camera for architecture clients. You have to be so careful with the 17mm that it doesn't exaggerate perspective too much IMO and get your levels just right in camera.
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I own both, they're both very, very good. But 17mm is SO WIDE...just way too wide for interiors, except in a few cases. Also very difficult to use any filters on the 17. I've got the Fotodiox kit but it's awkward at best.
My 17 gets used on exteriors much more than interiors.
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I think both focal lengths are very important to have. If you have to decide for just one I would get the 24 and for wider shots just stitch 2 images. This way you get a more pleasant perspective.
Like so:
(https://dl.dropboxusercontent.com/u/10120389/Com_25.jpg)
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I think both focal lengths are very important to have. If you have to decide for just one I would get the 24 and for wider shots just stitch 2 images. This way you get a more pleasant perspective.
Like so:
(https://dl.dropboxusercontent.com/u/10120389/Com_25.jpg)
Not always so easy just shifting and stitching two exposures together. Depends upon how you shoot.
And how do you get a more pleasant perspective? You can get the same result by cropping the wider, single-exposure shot, except that you won't have as much digital resolution.
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I own both, they're both very, very good. But 17mm is SO WIDE...just way too wide for interiors, except in a few cases. Also very difficult to use any filters on the 17. I've got the Fotodiox kit but it's awkward at best.
My 17 gets used on exteriors much more than interiors.
😄. My camera lives at 12-15mm
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Jajaja right Craig such cramped spaces.
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😄. My camera lives at 12-15mm
Ha! I think what you shoot definitely qualifies as one of the "few cases"!
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We're talking the TS-e versus the Zoom right? If you think you're going to be doing a lot of work around 24mm there is no contest at all. The 24mm TS-e is one of the best lenses in that focal length I have ever seen. It easily rivaled my Schneiders. It is also distortion free. The zoom certainly exhibits some barrel distortion and doesn't have the sharpness of the TS-e.
The 17 TS-e, while also quite good doesn't stand up to the 24mm. Not nearly as sharp.
My Canon mount lens board for the Arca is on its way from SK Grimes and I'm anxious to see what kind of shifting I can do with the 17-40. Tilt-shift zooms... I never thought I would live to see the day.
CB
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Hi Chris,
Thanks for good info! I originally planned for the 24/3.5 TSE, but I felt the 17/4 TSE may be a better choice. But I guess that I go with the 24 mm as originally planned.
Bst regards
Erik
We're talking the TS-e versus the Zoom right? If you think you're going to be doing a lot of work around 24mm there is no contest at all. The 24mm TS-e is one of the best lenses in that focal length I have ever seen. It easily rivaled my Schneiders. It is also distortion free. The zoom certainly exhibits some barrel distortion and doesn't have the sharpness of the TS-e.
The 17 TS-e, while also quite good doesn't stand up to the 24mm. Not nearly as sharp.
My Canon mount lens board for the Arca is on its way from SK Grimes and I'm anxious to see what kind of shifting I can do with the 17-40. Tilt-shift zooms... I never thought I would live to see the day.
CB
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Guys, Both lenses are excellent (I have two of each). I've found that there is quite a bit of variability between copies of them though, some are much sharper than others. I'd test them before putting them to use. I've seen a few shots taken with the new 11mm-24mm and it's very impressive. I'll have one to test in the next month and post the results. I believe Stefan is modifying them for shifting (it might be someone else) which would be very handy. Jim
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Yeah, Stefan at Hcam (http://hcam.de/en/index.htm) has recently offered the 11-24 as part of his Master Tilt Shift setup. All he does to the lens is trim off the tulip shade. Actually, I believe he has Canon do it. I imagine you can get one from him with or without the tilt-shift rig.
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Guys, Both lenses are excellent (I have two of each). I've found that there is quite a bit of variability between copies of them though, some are much sharper than others. I'd test them before putting them to use. I've seen a few shots taken with the new 11mm-24mm and it's very impressive. I'll have one to test in the next month and post the results. I believe Stefan is modifying them for shifting (it might be someone else) which would be very handy. Jim
I've been using the Sigma 12-24 for a number of years. Lots of sample variation in those lenses but I did find two very good copies.
I'll be renting a 11-24 and a 50Mp 5D later this month to see how they stack up. I suspect the lens will best the Sigma. I'm on the fence on the camera. I like the Sony but until Phase can fix Capture Pilot so it can control camera functions its a non starter for me.
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Tilt-shift zooms... I never thought I would live to see the day.
+1
Really exciting times with these new mini view camera/mirrorless setups.
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I have 17 and 24.
The 24mm is my absolute go to!
The 17 is great, but you need to use with care/careful thought process.
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I also have the 120/4 CFI, 180/4 CFi and a 100/3.5 CF.
I love the 180/4CFi it's a significantly better lens than the 150 and the 100/3.5 CF was claimed by Hassy at the timeto be the sharpest lens they made. Mine is simply outstanding and a wonderful focal length to work with.
The 17 TS-e, while also quite good doesn't stand up to the 24mm. Not nearly as sharp.
Guys, Both lenses are excellent (I have two of each). I've found that there is quite a bit of variability between copies of them though, some are much sharper than others. I'd test them before putting them to use.
Sadly even with these lenses Canon still ships variations in quality that should never leave the factory. I have the 17 and it's tack sharp. I rented 2 before I bought and when I review those images they don't compare to the lens I purchased. My 24 is outstanding as well.
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Hi,
Well, that is what the MTF curves say. I never had 150/4 and 180/4 at the same time as I traded in my 150/4 for a 180/4. The reason was I seldom used it.
The 100/3.5 is said to be very sharp at infinity, this is consistent with my experience.
I love the 180/4CFi it's a significantly better lens than the 150 and the 100/3.5 CF was claimed by Hassy at the timeto be the sharpest lens they made. Mine is simply outstanding and a wonderful focal length to work with.
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Canon mount lens board just arrived from SK Grimes. So awesome! Now I can mount the 17 & 24 TS-Es on the Arca, as well as the newly arrived Contax 35mm PC. So cool!
I can actually get like 20mm of movement out of the Contax 35mm, that blows the socks off my SK 35mm XL.
(http://christopherbarrett.net/forum_images/Canon_Mount_02.jpg)
(http://christopherbarrett.net/forum_images/Canon_Mount_01.jpg)
(http://christopherbarrett.net/forum_images/Canon_Mount_03.jpg)
CB
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Looks pretty cool Chris. How are you finding going back to a bellows camera? (Not sure if I would ever want to work with bellows again.)
Also, how are you controlling the aperture on the Canon lenses? Does the custom lens board give you control of this?
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Joe, I still did all my furniture shoots with the view camera, as I never mounted anything longer than 70mm for the Rm3d, so I'm still pretty comfy with them. Any shortcomings in working with a bellows cam are pretty much taken care of by having stellar live-view. One of my favorite things about the platform is I can use all my lenses (17, 24, 35, 40, 50 ,60, 80, 90, 110, 135, etc yada yada) without changing cameras or platforms. With the Rm3d, I always had to go to the DSLR and 17mm TS-e for super wide stuff and then the view camera for long stuff. I don't need that kind of hassle on set.
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i dont have direct first-hand experience with 17 nor 24. but from what i read/heard, I always thought 17mm is slightly lagging behind the 24mm. and this is findings from existing kit. so, to go even higher up in MP (with a7rII and 5DsR), i do wonder how much benefit you will gain from increasing pixel count. but of course, with full shift, the 24mm has similar field coverage as an unshifted 17mm TSE, so to go further, the 17mm TSE is the only way to go.
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Chris nice job they did on that mount! Enjoy
I don't know if you explained that before, but how do you change the aperture?
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You put the lens on a Canon body, set the aperture you want, hold the dof preview button down, then at the same time remove the lens. Lens is physically set then and won't change until you plug it back into a Canon body.
Loving this thread and all the information on it. Realise I need to step up my game a bit :) Think I need to learn how to light interiors, mostly at the moment I rely on the ambient and blending a few exposures together.
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Or if you have the Sony and Metabones adapter, you fire off a long exposure and just remove the lens while the shutter is open. I've set my 24mm and 17mm at f/11 and they just stay there. Cambo has a great (but not beautiful) solution in their Canon Electronic mount that should be about ready... though the cost of that puts the Actus up at the price of the Arca. At some point Arca will come out with a Canon mount to integrate with their new electronic modules. I may just stick with my manual hack.
CB
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Nice Scott. What lens did you use?
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How are you limiting the refections in the glass so much Joe? Are you using a polariser?
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How are you limiting the refections in the glass so much Joe? Are you using a polariser?
Depends on the image, the angle and how I am looking through the glass. Most of the time I try to flag my lights and any other lights causing reflections, or capture an image with them turned off (if I can) and blend that in in post.
A polarizer can work well so long as you are looking at the glass on an angle and the light is hitting the glass on an angle too. However this will only decrease the intensity of the reflections and never completely gets ride of them. Sometimes, only certain reflections are effected, or as you spin the polarizer certain reflections will dim down while other brighten and then the opposite happens after spinning a little more. (Various light sources all hitting the surface at various angles.) And when looking straight onto a piece of glass, usually a polarizer does nothing.
The only way to completely eliminate the reflections with a polarizer is to also polarize the light source and cross polarize the polarizer on the lens. My girlfriend, who shoots food and drink, does this a lot with bottle/glass shots in studio, however it is pretty much impractical on location when blending ambient and controlled light.
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Nice Scott. What lens did you use?
Kaypee, thanks. I pretty much stick with 24, 24+1.4 extender, and 50.
Canon, Canon, Schneider.
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Great Thread, Thanks Chris for getting it started. Regarding the Frakencamera, a few years back I tried the Cambo Ultima 35 with a cannon 1ds mk2 along with various Schneider & Hasselblad lenses.
I found that the gear tolerances were not fine enough with the Ultima 35 for this type of setup and that I was constantly having to deal with the movements not staying put. I am guessing that is not an issue with this new generation of view cameras?
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This is one I did for a local independent brewery who had a new brew house built. Canon EOS 5D Mark II + Distagon T* 2.8/21 ZE. Available light, three RAW Frames converted and Tone Mapped using Photomatix Pro software. B&W was requested.
The second image is the dining room in a local manor house. Same equipment, available light and similar technique.
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You guys do great things with carpets. Had to think about the carpet brush on yesterday´s shoot while brushing the carpet with my flat hand. ::)
Do you have any tips for curtains that do not want to hang nicely by themselves?
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You guys do great things with carpets. Had to think about the carpet brush on yesterday´s shoot while brushing the carpet with my flat hand. ::)
Do you have any tips for curtains that do not want to hang nicely by themselves?
Check out the Perky carpet brush on Amazon.
Curtains...we always have a portable steamer and lots of duct tape.
Sometimes the only answer is to fix it in post.
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Do you have any tips for curtains that do not want to hang nicely by themselves?
If I don't see the bottoms, I'll just hang an a clamp on the bottom and the weight straightens them out. If you do see the bottoms, you can usually still get an a clamp in there, hidden to do the trick... you just might need a lot.
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+1 on the carpet rake....
And A-clamps for drapes and curtains. Then there's always tape for holding those horrible vertical venetian blinds still on a long exposure.
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There are places in the world where vertical blinds still exist?
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There are places in the world where vertical blinds still exist?
Ubiquitous in Florida, USA.
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Thanks, very helpful advice!
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Track side at the mx races.
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Recent food session with mostly South American desserts. Sony A7R + Pentax 645 120 Macro Tilt-Shift adapter.
The experience of a week long shooting with this camera was superb, only withdrawal is short battery duration with live view.
(https://dl.dropboxusercontent.com/u/10120389/Food/_DSC0202.jpg)
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Just another one.
(https://dl.dropboxusercontent.com/u/10120389/Food/_DSC0921.jpg)
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Not posted an image in a while so here goes - recent still life shoot for one of my ceramics manufacturing customers. Canon body, 90TS-E.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/Ceramics2.jpg)
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Sorry to fill this page with so many images. Just bored.
(https://dl.dropboxusercontent.com/u/10120389/Food/_DSC0834.jpg)
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Is that some sort of chilled cinnamon and clove custard?
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Nop, the first one is milk sweet with the clover on top. Indians have a similar dessert.
Second one is called "sigh" and is stirred egg yolk with sugar and then baked.
There one is some sort of Eggnog with Rom.
Nice lighting in your mugs photo!
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Nop, the first one is milk sweet with the clover on top. Indians have a similar dessert.
Second one is called "sigh" and is stirred egg yolk with sugar and then baked.
There one is some sort of Eggnog with Rom.
Nice lighting in your mugs photo!
All mouth-wateringly tempting which in my book means a job very well shot.
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Hey Antonio,
Are you using the 'A' of 'FA' version? I ask as I have both and the A is a beast of a lens. Really heavy.
If using the A, is it putting any strain on the A7r mount?
Cheers
Andrew
Recent food session with mostly South American desserts. Sony A7R + Pentax 645 120 Macro Tilt-Shift adapter.
The experience of a week long shooting with this camera was superb, only withdrawal is short battery duration with live view.
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I'm using the A version and yes it is putting strain on the mount which I changed to a tough E mount but still.
I which I could find a tripod collar that would hold.
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Hi,
Which T&S adapter do you use? I am considering a HCam Master TS that has a tripod mount.
Best regards
Erik
I'm using the A version and yes it is putting strain on the mount which I changed to a tough E mount but still.
I which I could find a tripod collar that would hold.
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Well in this case is double adapter. I have a tilt shift Kipon Adapter with Nikon mount and to this a Pentax to Nikon adapter..
(https://dl.dropboxusercontent.com/u/10120389/adapters.jpg)
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(https://dl.dropboxusercontent.com/u/10120389/A7R/IMG_5402.jpg)
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(https://farm1.staticflickr.com/464/19957772511_b2bb0f71f1_c.jpg)
(https://farm8.staticflickr.com/7617/16395209394_2ca0581f2a_c.jpg)
(https://farm8.staticflickr.com/7588/17016179052_ceeacec01b_c.jpg)
.
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Hi,
This is what I am considering. The Kipon adapter you are using is said to be a "knock off" from the original Mirex adapter. The HCam Master T&S is based on the same adapter.
The Canon EF bayonet is used as it has a wide opening and a short flange distance, so it offers a great variability with adapters.
The HCam Master TS has a tripod mount, and it seems to be on the lens-side, so the camera can be tilted and moved without moving the lens.
It is a bit expensive, about 1000$US + sales tax. Read more about it here: http://www.getdpi.com/wp/2015/03/h-cam-master-ts-adapter/
The ring with the blue tab is a way to fix aperture on Nikon G-lenses.
(http://www.getdpi.com/wp/wp-content/uploads/2015/03/HCamside.jpg)
Just to say, I have not tested this device, it is just in my shopping plans for near future (within 6 months).
Best regards
Erik
Well in this case is double adapter. I have a tilt shift Kipon Adapter with Nikon mount and to this a Pentax to Nikon adapter..
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Well Erik definitely this has its advantages. The Kipon was $350 and is really good build quality, just doesn't have the tripod mount.
I do have a Horeseman VVC Pro that I use in the studio in pair with the Rodenstock Apo lenses.
This is even better solution but cannot handle wide angle lenses.
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I couldn't see anywhere, but how many mm's of movement doe the adapter have built in?
Cheers
AL
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It has 12mm of tilt in one direction and +-15mm shift. It rotates too. This version for G lenses has the diaphragm lever.
The entire description is here:
http://www.ebay.com/itm/Kipon-Tilt-Shift-Adapter-for-Nikon-F-AF-S-G-lens-to-Sony-E-mount-NEX-6-7-A5000-/231157861036?pt=LH_DefaultDomain_0&hash=item35d2150aac (http://www.ebay.com/itm/Kipon-Tilt-Shift-Adapter-for-Nikon-F-AF-S-G-lens-to-Sony-E-mount-NEX-6-7-A5000-/231157861036?pt=LH_DefaultDomain_0&hash=item35d2150aac)
They have 2 versions, one for Nikon F mount and one for Nikon F and G mounts.
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(https://farm1.staticflickr.com/464/19957772511_b2bb0f71f1_c.jpg)
(https://farm8.staticflickr.com/7617/16395209394_2ca0581f2a_c.jpg)
(https://farm8.staticflickr.com/7588/17016179052_ceeacec01b_c.jpg)
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Morgan, These look really good! Jim
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Morgan, These look really good! Jim
Thank you Jim!
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Not posted an image in a while so here goes - recent still life shoot for one of my ceramics manufacturing customers. Canon body, 90TS-E.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/Ceramics2.jpg)
Really nice, great light in this one.
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Recent food session with mostly South American desserts. Sony A7R + Pentax 645 120 Macro Tilt-Shift adapter.
The experience of a week long shooting with this camera was superb, only withdrawal is short battery duration with live view.
(https://dl.dropboxusercontent.com/u/10120389/Food/_DSC0202.jpg)
Nice looking dessert; you pic makes me want to try one.
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I think I MIGHT be done buying glass for the new Sony based architecture kit... oh and look... A7r II... just in time :)
(http://christopherbarrett.net/forum_images/GLASS.jpg)
Chris, in a previous post (that I can not find) you mentioned company in England, I think, that did custom work to lenses. I believe you said you had them re-barrel a lens to mount on your cine camera.
Could you tell me the name of that company again?
(I could totally be mixing you up with another photographer too)
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Joe,
I used Van Diemen (http://vandiemenbroadcast.co.uk/), who did an excellent job. They took forever, tough (6 months) and I think it was about $5k a lens.
From this...
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xpf1/t31.0-8/341014_2899085111276_295583690_o.jpg)
To this...
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xpa1/t31.0-8/1398782_10201931157935629_1922227625_o.jpg)
There's also True Lens Service (http://www.truelens.co.uk/) who are some guys that broke off from Van Diemen and also do beautiful work. Then there's Nan at GL Optics (http://www.glcinemod.com/english.html) in China who is less expensive and nearly as good as the Brits. I have his 18-35 1.8 which uses a really incredible Sigma zoom as it's core (Cropped Frame / S35 only tho). These lenses are all serious business and are typically in PL Mount, tho GL will also do Eos.
Lastly, if you just want to mod some still lenses with a gear ring, de-click apertures and ad a common diameter front ring, you couldn't do better than Duclos Lenses (http://www.ducloslenses.com/).
If you're talking about custom work other than for Cine use... I don't really have a resource for that.
Cheers,
CB
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Thank you Chris.
The mods would not be for cine use, but still work. I have been looking at the images posted by Doug Peterson from the Schneider Cinelux 130mm f/2 and I am really impressed. It is a projection lens, so the aperture is fixed and there is no shutter in it.
I am slowly getting into more hospitality work and like the look of that lens for portraits, and feel it would be a good lens for product as well, if I could stop it down.
My idea would be to have an aperture installed into the lens and maybe a leaf shutter so I could use it on both a tech camera and SLR type camera.
Just an idea, not going to happen soon, but I wanted to add those businesses to my database for future reference.
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Oh... I would totally check with SK Grimes on that. Seems right up their alley. What sort of look is it? If you want something more diffuse... glowy, have a look at the Cooke Portrait lens. Also, I carry diffusion filters to soften the look of the RED on indie films. A 1/4 Black ProMist has a really nice effect and just takes the edge off of digital.
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I just talked to them and they said it could be rather difficult. They may not be able to do it.
I just like the look of the lens. Very very sharp where you focus, very very smooth in the out of focus areas.
I just looked up the entire Schneider Cinelux range. It turns out there are a few different classes of projection lenses within that brand name. The Cinelux Premiere lenses have an aperture, a f/1.7 through 4. However it looks like this line is designed for 35mm film only. But it looks like an aperture could be installed, albeit may require a new lens barrel and housing.
Thanks for the suggestion on the diffusion filters, may be a good thing to look into.
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waitin' for dusk...
(https://scontent.xx.fbcdn.net/hphotos-xpf1/t31.0-8/905956_10206355543502503_7672669550725806292_o.jpg)
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Chris, how many shots do you ussually plan to get at dusk.
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Usually 1. That way I have the best light from start to finish. More than one and you often have to compromise something. I have done up to 3 in a day, but I had preset three tripods and two cameras and then ran from one to the other. I've also just left one camera in position shooting automatically via a timelapse controller.
Obviously, if you need to do more than one in a day, the ideal is to shoot east first and then west, as the western sky stays lighter longer.
CB
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Chris I maximun 2. Is a good tip to set 2 cameras and run from east to west.
I ussuay set for my main shot and risk to take a second one.
I like the idea of the beach chairs that you use. Kind of keeping it relax.
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waitin' for dusk...
(https://scontent.xx.fbcdn.net/hphotos-xpf1/t31.0-8/905956_10206355543502503_7672669550725806292_o.jpg)
Damn, chairs. I have never thought to bring any. Time to buy some chairs.
By the way, where's the Margaritas? :D
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Shot this yesterday, very nice kitchen. It was shaped liked a triangle, so compositionally it was a little ... different. But I think shot turned out nice.
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Shot this yesterday, very nice kitchen. It was shaped liked a triangle, so compositionally it was a little ... different. But I think shot turned out nice.
That is nice Joe. Just a little kick from the left door, nice light in the right hallway, practicals spot on. Very clean
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Ditto, feels like your lighting is becoming more sophisticated, nuanced.
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From a project shot in February. Before and After...a good example of why I light things! On the face of it, dynamic range was not going to be a huge problem (the "before" has all the sliders 'zeroed'), so a little judicious massaging was going to make a nice histogram. But YUCK!
I did a few things, mostly trying to make all the light appear motivated by the bedside lamp.
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Ditto, feels like your lighting is becoming more sophisticated, nuanced.
Thanks Craig and Chris; I appreciate the compliments.
I have been changing my lighting up over the past 9 months or year. I use to be so concerned with creating shadows and altering how the space looked. Now, I realize that that was a silly thing to be so concerned with, and it is such a relief.
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Chris, now that you are no longer using the R system, what are you doing with your lenses?
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Initially I was using them on the Universalis (with the R to M board). I've since replaced them with Hasselblad glass (no more LCCs!). Sold the whole R kit with my IQ260. I've kept my Rodie 90 & 135 which were never mounted for the R anyway.
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Chris, I have a quick question about your use of Canon/Contax TSE and the Hasselblad lenses. Are you using these because of the larger image circle allows greater movements? Do you ever shift a TSE and use the movements on your Arca? Thanks.
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Yes! It's all about image circle. I'm continually impressed with the quality of the Contax 35mm PC. I leave the lenses centered and only use the movements of the view camera. They provide plenty of movement beyond the usable image circle.
CB
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Are the Hasselblad lenses sharper than rodenstocks of the same focal length? Or do they provide greater movements? Thanks.
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While sharpness seemed very similar, the Hasselblads provided greater movement. What's weird about the Sony setup is that, once you already have large image circles, then you eventually start getting cutoff from the camera body cavity. The 'Blad glass has a further focus throw, so lesser incident angle and the cutoff happens more slowly.
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While sharpness seemed very similar, the Hasselblads provided greater movement. What's weird about the Sony setup is that, once you already have large image circles, then you eventually start getting cutoff from the camera body cavity. The 'Blad glass has a further focus throw, so lesser incident angle and the cutoff happens more slowly.
What about rectilinear distortion, which tends to be more pronounced with retrofocus wideangles? Yes, you can correct for a lot of it in Photoshop, but if it is inconsistently wavy, it gets more complicated. Also, as I understand it, rectilinear distortion varies with distance.
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You mentioned that you stopped doing LCCs. While you wouldn't need that for chromatic aberration on those lenses wouldn't you need it to correct for fall off from movements? Thanks.
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Well, I've shot a half dozen architectural projects with the setup recently and I haven't seen any distortion issues. As for fall-off, remember, these lenses are designed to evenly illuminate a 6x6cm piece of film, so yeah that hasn't really been a problem either. They tend to fall off dramatically at the limits of the image circle. I'm only interested in real world results and haven't looked at any of the graphs, but after extensive use on long shoots, I'm pretty damn pleased with this rig.
About the only thing I'm questioning at this point is whether I want to go back to my M-Line 2... smoother and more robust than the Universalis, but heavier.
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Hi Weldon! :)
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Hi Slobodan, hope all is well.
Chris, thank you for your answers, it's been helpful. I have a full set Contax 645 lenses and I'm remotely thinking about contacting SK Grimes to see if they could create an adapter for me.
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Here are a few that I shot last week of my client's personal kitchen. She is submitting it for a competition in a couple of weeks and wanted to have it shot.
Overall, I think they came out nice, and I am surprised by the first image. When shooting that, the sun keep on going in and out, really screwing me up. I did not have a good feeling about that image when I left, but it is not so bad.
Now off to a wedding. ;D
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Well at least there is a house in the background to satisfy the architecture "requirement" :P
Hyundai HCD-16 Vision G Coupe concept car on display at a home in Pebble Beach, CA
(https://farm6.staticflickr.com/5737/20503383978_89106f7b76_o.jpg)
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Jesus!
How did you get that look on the car while keeping everything else within normal tones?
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Well at least there is a house in the background to satisfy the architecture "requirement" :P
Hyundai HCD-16 Vision G Coupe concept car on display at a home in Pebble Beach, CA
(https://farm6.staticflickr.com/5737/20503383978_89106f7b76_o.jpg)
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Very nicely done.
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Jesus!
How did you get that look on the car while keeping everything else within normal tones?
Thanks. It's a mix of available and light painting using an LED wand. Also the very expensive paint job on the car is a titanium silver that has a lot of depth to it. And a lot of Photoshop ;)
Camera was a D810 with a Nikkor 85 1.4 @F11
.
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African Black Soap anyone?
Been putting together a home product portfolio and shot this last night. Not exactly professional works, but not exactly pick up the camera and go with it either. Used one light with lots of bounce cards, black cards, diffusion gels and shinny metal thingies to reflect light.
PS. In case anyone is interested, here is an image of the setup.
PSS. In the setup shot you can see half a boom arm with a sand bag that did have a strobe and soft box attached to the other end. However, this light was not being use; I was using the Profoto Narrow Beam Reflector positioned about 10 feet from set.
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Fabulous, Joe, absolutely fabulous! Thanks for the setup photo too.
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Fabulous, Joe, absolutely fabulous! Thanks for the setup photo too.
Thanks Slobodan!
I have been incorporating Ad Firms into whom I market to lately and thought it would be good to put together a home product portfolio. Hope to have a separate portfolio up on my site soon. I have been finding this genre to be a fun and nice, but not a too far, departure from architecture and interiors.
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African Black Soap anyone?
Been putting together a home product portfolio and shot this last night. Not exactly professional works, but not exactly pick up the camera and go with it either. Used one light with lots of bounce cards, black cards, diffusion gels and shinny metal thingies to reflect light.
PS. In case anyone is interested, here is an image of the setup.
PSS. In the setup shot you can see half a boom arm with a sand bag that did have a strobe and soft box attached to the other end. However, this light was not being use; I was using the Profoto Narrow Beam Reflector positioned about 10 feet from set.
Beautiful lighting.
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Thanks Dave and Sharon.
Insofar as the ice cube, I am not sure. I captured one without the ice cube and may ultimately use that version. My girlfriend is a food and beverage photographer and thought it was a nice touch. However, I do agree, it may be too bright, drawing attention from the soap.
Here it is; let me know what you think.
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Nice work Joe.
I like the cube as it tells you exactly what the drink is, thus adds a bit of romance to the image.
However, I`d vote for sans icecube as it is too dominating. Perhaps a smaller one would have done the trick for me - or two or three pieces of crushed ice.
Great work though.
AL
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I'm no expert, Joe, but the new version emphasizes the soap more. Both are beautiful shots.
As well as the disappearance of the ice cube, there's a subtle change in the way the lettering on the soap is lit. I think it's an improvement.
Jeremy
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Thanks Dave and Sharon.
Insofar as the ice cube, I am not sure. I captured one without the ice cube and may ultimately use that version. My girlfriend is a food and beverage photographer and thought it was a nice touch. However, I do agree, it may be too bright, drawing attention from the soap.
Here it is; let me know what you think.
I'll be contrary, I prefer the ice cube in. I love the warm color of the ice, and it fits the scene. To my mind, the empty glass simply does not complete the story.
But kudos on the light. Very nicely crafted.
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night sky, Siesta Key
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Hello everyone! After a few months lurking I finally decided to make an account, as this place seems the more sane to talk about photography. Watching all the awesome works posted here has been a great source of inspiration and motivation to better myself, so I have to thank you all!
I was recently visiting one of my younger cousins, as he opened a farm holidays restaurant late last year and wanted to give him a hand. I'm still an amateur as photography is not my main source of income, but this time we decided to make it official and I approached this task as a proper job. The place sure helped make nice images.
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150811_AM18010_zps7bw4mcpc.jpg)
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150811_AM18015_zpsqudbzsxf.jpg)
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150811_AM18036_zpsjh2tjy2k.jpg)
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150813_AM18074_zps085nanis.jpg)
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150813_AM20280_zps7jde7muq.jpg)
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150813_AM18089_zpsp8b1gxkr.jpg)
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150813_AM18064_zpsrialuznm.jpg)
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150813_AM18072_zpsxexspbvc.jpg)
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150813_AM20298_zpsa02dmaim.jpg)
Wide angle shots have been taken with a Nikon D7000 and Sigma 10-20 f/4-5.6, while food shots have been done with a Nikon D200 and Sigma 18-50 f/2.8 or Nikon 50 f/1.4D. That is pretty much all I have right now and I'm trying to make it count.
I can't get myself to sell that D200 camera, I love the CCD colors too much!
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Joe, I thought I'd chime in because to me this picture is telling two different stories. The design and light look great (really great) but for this picture to be successful it has to tell a story that communicates immediately. The flower, soap and tray work well together, the flask, cigars and glass work well together but I think that all those items don't belong together. Personally, I would try to find props that will compliment the flower and soap and reshoot it, it would have some potential as a sample for the hospitality industry that you'd like to work in. Jim
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Razrbick, I think these shots are ok. The light is nice but I'd back off a bit on the more extreme wide angle draw. Also try correcting the perspective on the room shots, as well as, any barrel distortion. Jim
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Damn Craig, I was so ready to use the shot without the ice cube, now ... :D
Jim, I am not sure if I agree with you, but I do consider that to be a valid opinion. I will have to mull it over for a few days. My idea behind that shot was to try to create an appealing bath tray for a man. We so often see what would appeal to a woman, but if I were to relax for an hour in a bath, what would I want. (FYI, I am not a heavy cigar smoker, maybe once or twice a year I'll indulge, but I do enjoy a good bourbon.)
I would love to do a shot involving just cigars and bourbon, but a good box of cigars is damn expensive and I can not return them. If anyone wants to lend me a box, let me know. ;D
Well here are some more. By the way, I am totally new to this and is my first attempt at still life, so, honestly, I have no idea what I am doing. Defiantly much different then architecture, especially since I have to create all the light, not just prop up and/or enhance ambient. Any tips would be much appreciated.
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Razrbick, overall the images are good, however it looks like you were moving a little fast. Next time slow down and really pay attention to what you are doing, making sure everything is placed well. Don't be afraid to move things or get ride of something completely.
Doing this will also force you to think about your images as well. For example, the image looking over the picnic table onto the mountains in the background was a really strong idea. You can sit back, enjoy the view while having something to eat. However, the table blocks much of the view. If you kept the camera in the same relative place and moved the table back, so the other end was in the shadow, and placed the bowl at that end, it would tell the same story, only stronger. Most of the image would be of the view, but there would be a small amount of the table to convey the idea of eating and relaxing.
I also agree with Jim on super wide shots. I know the tendency at first is to shoot super wide and cover our eyes' entire visual field. In reality though, we only pay attention to our binocular view, so an image wider then that usually looks odd. On a 35mm DSLR, a 24mm lens covers our binocular view and is about as wide as I usually prefer to go.
Do you have any lights? If not, you should get a strobe, maybe two, and start fooling around with them.
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Razrbick, I think these shots are ok. The light is nice but I'd back off a bit on the more extreme wide angle draw. Also try correcting the perspective on the room shots, as well as, any barrel distortion. Jim
Razrbick, overall the images are good, however it looks like you were moving a little fast. Next time slow down and really pay attention to what you are doing, making sure everything is placed well. Don't be afraid to move things or get ride of something completely.
Doing this will also force you to think about your images as well. For example, the image looking over the picnic table onto the mountains in the background was a really strong idea. You can sit back, enjoy the view while having something to eat. However, the table blocks much of the view. If you kept the camera in the same relative place and moved the table back, so the other end was in the shadow, and placed the bowl at that end, it would tell the same story, only stronger. Most of the image would be of the view, but there would be a small amount of the table to convey the idea of eating and relaxing.
I also agree with Jim on super wide shots. I know the tendency at first is to shoot super wide and cover our eyes' entire visual field. In reality though, we only pay attention to our binocular view, so an image wider then that usually looks odd. On a 35mm DSLR, a 24mm lens covers our binocular view and is about as wide as I usually prefer to go.
Do you have any lights? If not, you should get a strobe, maybe two, and start fooling around with them.
Thank you both for the feedback, greatly appreciated!
When I first scouted the place back in December the exterior was still a work in progress. Interiors had much more light coming in, especially at sunset, like in this phone shot.
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/20150102-WP_001473_zpsynywqyxk.jpg)
(The woman in the shot is 1.60m if you want a scale of that place)
I could've really used strobes to push more light inside, and in fact I'm saving up for an Elinchrom kit.
I'll try to work out something better the next time I'll be there, especially on the perspective side. I won't be able to afford tilt lenses anytime soon, so I'll do better perspective corrections in post or use stitching with longer lenses.
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Hey Joe,
I like your kitchen photos very much. Whenever I do this sort of thing, the outside is blown out when exposing for the interior lighting.
Your images have a very natural non-HDR look. May I ask how you achieved this?
Thanks
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Hey Joe,
I like your kitchen photos very much. Whenever I do this sort of thing, the outside is blown out when exposing for the interior lighting.
Your images have a very natural non-HDR look. May I ask how you achieved this?
Thanks
Thanks for the compliment. To achieve the results I do, I really try not to rely on HDR processing, or be too heavy handed with it, and light all of my interiors. I do layer in faster captures to pull back some of the highlights, but I limit it to a 2, or maybe 3, stop bracket if I can. I find that HDRing brackets further apart then 2 or 3 stops creates that fake HDR look.
Also, interior lighting tends to be very dead and flat by design, which is a good thing for living and worker under. However, for photography, it is pretty bad. So lighting helps to break up the space and create depth, along with filling in the shadows.
So, to start, I come up with an idea of what I want the space to look like and try to figure out how much ambient light I need in the photo to get me there. I find the exposure that will work for the effect I need, which could be long enough to let ambient do most of the work or short enough where ambient only burns in the lightbulbs or windows, and then start adding in lights. I use many different types of light modifiers, all for different effects and light & shadows.
I also will gel all of my lights to get the color as consistent as I can, to reduce work in post, which can have the effect of making the image look fake. I also will gel windows, especially if there is blooming, which I have found is impossible to correct in post.
Insofar as what I use and when and how, that all comes down to experience, looking over the times I have been successful and the many many times I failed with flying colors. So, I can not really explain how I know what to do, other then saying I do what makes sense.
I have a few blog posts on my site where I explain my lighting on specific images more in depth and show how I "built" the image with my test shots. For a couple, I took the time to draw the lighting diagrams showing where each light was and with what modifier. You can read more on what I do there.
By far, HDR photography is the easier process to learn; mastering lighting takes years (and I do not consider myself a master.) However, lighting, if done right, produces superior results, and allows you to create images most others can not.
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Thanks for your considered response Joe. I'll be sure to check out your blog.
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Damn Craig, I was so ready to use the shot without the ice cube, now ... :D
Jim, I am not sure if I agree with you, but I do consider that to be a valid opinion. I will have to mull it over for a few days. My idea behind that shot was to try to create an appealing bath tray for a man. We so often see what would appeal to a woman, but if I were to relax for an hour in a bath, what would I want. (FYI, I am not a heavy cigar smoker, maybe once or twice a year I'll indulge, but I do enjoy a good bourbon.)
I would love to do a shot involving just cigars and bourbon, but a good box of cigars is damn expensive and I can not return them. If anyone wants to lend me a box, let me know. ;D
Well here are some more. By the way, I am totally new to this and is my first attempt at still life, so, honestly, I have no idea what I am doing. Defiantly much different then architecture, especially since I have to create all the light, not just prop up and/or enhance ambient. Any tips would be much appreciated.
if you want to build a portfolio to get work shooting tabletop photos, think about finding a stylist. Even if you end up having to pay someone, it will be worth it. Art directors, art buyers, etc. are picky, very picky. Now if you are doing this for fun, just keep doing what you are doing. You'll acquire new skills to apply to your architectural work. Either way, it's a win-win.
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Here's a recent shot of The Kern River Band from Kernville, Ca. where we shot this on the dobro player's 380 acre ranch. Old time cowboy music and they not only sound great but everyone looks the part, including Duke, who looked right where I told him to.
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Here's a recent shot of The Kern River Band from Kernville, Ca. where we shot this on the dobro player's 380 acre ranch. Old time cowboy music and they not only sound great but everyone looks the part, including Duke, who looked right where I told him to.
That is great. Love the light, and how you even got the dog to look at the camera.
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Thanks Joe. Duke would pretty much look wherever you told him to. Better than most of the trained Hollywood set animals I've worked with. Knows about snakes too.
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Here's one more interesting shot. Hand held. Auto everything. Lit by the arc. I was leaning on my elbows. Framed it up approximately. Told him to start and as soon as he struck an arc, I shut my eyes and hammered down until the buffer filled - about forty shots. Rinse and repeat about ten times. Second shot are some sort of tube that becomes part of an airplane. They just told me to make something interesting with them. Thirty-seven focus slices later...
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Creepy times with birds on a shoal...
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One of my furniture clients is getting into shooting more "case study" type imagery that has a more editorial feel. I think they were concerned that I wouldn't be able to shoot 'messy'. So, I put together this little portfolio, which is probably about as messy as I'll ever get...
http://christopherbarrett.net/portfolio_page/case-studies/ (http://christopherbarrett.net/portfolio_page/case-studies/)
(http://christopherbarrett.net/wp-content/uploads/2015/09/CaseStudy_001.jpg)
-CB
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One of my furniture clients is getting into shooting more "case study" type imagery that has a more editorial feel. I think they were concerned that I wouldn't be able to shoot 'messy'. So, I put together this little portfolio, which is probably about as messy as I'll ever get...
http://christopherbarrett.net/portfolio_page/case-studies/ (http://christopherbarrett.net/portfolio_page/case-studies/)
(http://christopherbarrett.net/wp-content/uploads/2015/09/CaseStudy_001.jpg)
-CB
Oh boy!! CB pics are really good, as always. But man, how can people work into such clean, deshumanized, cold, depressing environements, where of course nobody smokes, nor drink nor get dates ?!
Each time I see CB's pics of those working buildings, I got the same depre sensation. It's not CB, it's the arquitects.
I love emptyness and minimalism, but those are just the reflection of a politically correct and boring society.
Look at our politicians now...there are the perfect reflection of this: they are grey. You could replace them by anyone else.
Get rid of one of those glass buildings in the city and nobody will notice it, then replace it by others similar glass building with the same grey people, full of plastic water machine distribuitors and endless
corridors that go nowhere...scary!!
You know what CB? I'd like you to do a trip to Napoles one year, and shoot the "dirty".
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One of my furniture clients is getting into shooting more "case study" type imagery that has a more editorial feel. I think they were concerned that I wouldn't be able to shoot 'messy'. So, I put together this little portfolio, which is probably about as messy as I'll ever get...
http://christopherbarrett.net/portfolio_page/case-studies/ (http://christopherbarrett.net/portfolio_page/case-studies/)
-CB
Wow!
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Oh, Fred... thanks for your comments (in the Fred way). I don't share your sentiment for minimalist architecture, but I can appreciate anyone who stands by their views. Honestly, I'm not sure how good I would be with 'traditional' architecture. I'm not sure if my eye could be properly calibrated. I do appreciate it, though, which is why I bought one of the oldest houses in my area. Not old by European standards, but at 130 years, I feel like it's got a little history anyway.
Cheers!
CB
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Nice to read you Chris.
I must admit, my rejection to the office buildings
Is quite irrational.
It comes from long ago, when I was young in Paris
And studdying in fine arts, I found one of those part time
Jobs for studdents to make extra money in a company
Named Sanofy. (they own some big perfume names).
At that time, the company was located in the Champs Elysee,
In a very chic building and I could go walking from home,
Passing by Trocadero etc...Paris glamour, Paris naughty,
Nice walk, nice boutiques etc...
Then, for cost reasons, they delocated in the subburbs in one
Of those huge buildings. It tooked 2 hours to reach there,
And instead of the boutiques, huggly subburbian's houses and grey people. Long corridors, glass windows everywhere
And depressed secretaries. Not one bar outside but just the
Company's cafe (if that could be name a such)...horrible!
Since then, I started to get an irrational rejection to any kind
Of office building. Lol.
In Europe, particularly in Europe (post war), the subburbs have
Been absolutly deshumanized by bad arquitecture decisions.
What has to be nice were the downtowns but they completly
Screw it in the urbanistic plans for new areas. Now it has changed but 50 years of dammage aren't easy to erradicate.
Go to Paris, the downtown is spectacular, but drive a mile away
And it's just shocking, hugly.
I beleive in the US you did it better on that aspect.
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iPhone 5? Seriously? The sensor in my S6 Edge is sooo much better. More dynamic range, sharper... it just has that '3-d' look. It's so much more professional. Any pro worth their salt is shooting on Samsung. Have you even looked at the MTF charts or DXo?
Get your shit together, Cooter.
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I looked at the Samsungs but refuse to get a gmail account.
BC
Lol!...me too!
but the worse is Whatsapp!! I use BlackBerry instead.
gmail+facebook+whatsapp rocks!...in the subburbs ;D
ps: nice shot on the phone. By the way, the look reminds a bit the film you shooted with Red with the musician. Apart from the grain (actually quite nice), they could match.
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I looked at the Samsungs but refuse to get a gmail account.
BC
Who is skynet....Google or Apple?
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Yeah, I didn't like how omnipresent Apple was becoming, which was a big part of my switch after 7 years on iPhone
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I don't know. They're all probably the same.
Maybe I should wear a tin foil hat, but . . .
I just figured that Google is in the information selling business and Apple is in the sell you only apple stuff business. I could be wrong.
The web is a mess and last week I've had to hire an internet tech company to find out why when someone googles our studio's name it goes to another photographer's site, not just the studio but our personal names.
Could be something fishy, could just be google . . . who knows, though these guys I've hired say they can find out and it ticks me off so I'm determined to find out who, what, why and take action.
IMO
BC
I actually noticed this with your site.
Could be a range of things; maybe they are more up and in the know on SEO then you. For instance I always name my images using SEO terms for my genre; no one sees the names so why not. Also my SEO terms are part of the metadata for any image I post and I always end the description of my images as "architectural photography by architectural photographer..."
Or ...
I know a photographer who did the right thing and helped out a younger guy starting out. Months later he found out he was under balling the market by more than 50% of what he recommended he should change and copied his entire website metadata to his own site, which is easy to look up for any website.
But anyway, good luck with figuring that out.
Over and out of the hotel room, & back to roming Rome.
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If any of you ever end up in Caserta, below Rome and near Naples, I'll show you around!
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Thanks BC and Razrblack. Rome is great along with Venice, which we stayed at too.
Kind of torn on which I like better though. Photogenically Rome is great, but Venice is magical. However I have to wonder how developed Venice's economy is beyond tourism? Not to mention opperating a commercial studio, moving equipment around and shipping/receiving in a city where you either boat or walk would be ... interesting. Rome is a living breathing modern city.
My, now, fiancée and I would like to get a base in Europe, especially since our businesses are such that we do not need to hussle 24/7 to eat. She is a food/drink photographer, so we do not know where to look at. Pretty much may come down to Paris or Rome. London is to damp/foggy and Germany, well the food is pretty damn good, but it ain't damn pretty. (I know a Duetschlander is reading this and thinking I'm wrong.).
We may do stock Europe trip next summer.
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The team I hired will get me up to speed quick on SEO and get to the bottom of what's going on. I don't want to accuse anyone yet, but we'll find out in a few days.
The key to SEO these days is....wait for it.... Google analytics. Once you go down that rabbit hole it's never the same. They change the algorithms for site listings and it's a back and forth juggle with updating your site and running the current GA code.
For as long as you've been on the Web you shouldn't be having any problems. But then if Google left things alone there wouldn't be any money to make with Google analytics.
You meta tags look good. There's no reason you should have had a problem unless someone intentionally highjacked your site.
<meta charset='utf-8'/>
<meta name='keywords' content="James Russell, Ann Rutherford, Russell Rutherford, Los Angeles, New York, Dallas, Paris, Fashion, Advertising, Sports, Photography, Films, Motion, Still">
<meta name='description' content="The Photography and Films James Russell Ann Rutherford - Studios in Los Angeles, New York, Dallas and Paris">
<meta property='og:title' content="The Photography and Films of James Russell and Ann Rutherford"/>
<meta property='og:type' content="image"/>
<meta property='og:url' content="http://www.russellrutherfordphoto.com/"/>
<meta property='og:image' content="http://www.russellrutherfordphoto.com/media/thumb/?w=300&h=200&f=final_v4_sf_with girl.jpg"/>
<meta property='og:site_name' content="The Photography and Films of James Russell and Ann Rutherford"/>
<meta property='og:description' content="The Photography and Films James Russell Ann Rutherford - Studios in Los Angeles, New York, Dallas and Paris"/>
<link rel='canonical' href='http://www.russellrutherfordphoto.com//'/>
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BC these are amazing!
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BC
I really think you have a wonderful way with seated ladies; of the many shots of yours that I've seen, there's something about the sitting position that you seem to do especially well. Not a reference having anything to do with the high quality of all your other work, just that for me, these work out to be the most memorable. Maybe it's that they are the most natural for a model to be able to strike. There just isn't the tension that standing up and having to do something always provokes - very appealing.
Great stuff.
Rob C
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The research continues, but basically the team believes he embedded our website information and any combinations of our name someone could think of and attached it to his site. Running a profiler uncovered it.
I actually hired a second tech company to be sure and to document it. Both had a reply that the only people that do this are _ _ _ _.
Now to take action.
IMO
BC
Well that sucks.
I would be kind of interested in what action you take, because I am not sure if you can take any legal action at all, other then calling him up. Is website metadata copyrightable? If so, how many actually take the time to register their website's metadata with the Library of Congress?
By the way, nice pics BC.
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Ooops! Post deleted; just noticed the thread is for recent FAPW!
Rob C
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And there are remedies from filing a dmca takedown notice, which Google takes seriously, to contacting goggle directly...
Coots,
DMCA is US copyright law.
Where is your web site hosted and is it replicated in the EU ?
M
Edit:
PS This could run on, perhaps worth starting a new thread?
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Your right, i didn't want to hijack this thread so I'll wait for another thread.
No, I didn't mean to suggest you were hijacking anything!
But I suspect this topic is going to generate a lot of interest, and even more questions, so why don't you repost your earlier 'background' posts in a new thread - 'cos it ain't going to die down ...
M
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Manoli,
Your right, i didn't want to hijack this thread so I'll wait for another thread.
But our site and company is US based, though also the work is copyrighted under EU laws.
Rob C,
Hey man don't take your image down. I've always believed this site is a place to share and learn and honestly your image looks as modern, actually more relevant, than 99% of what I see anywhere.
CB started this thread to keep people on the MF section from yelling and lets face it your film images are format agnostic.
Keep posting with good information. I know I appreciate it.
Thanks
BC
Thanks, and how could a sane man refuse after that!
;-)
Rob C
(http://www.roma57.com/uploads/4/2/8/7/4287956/6563033_orig.jpg)
Nikon F, 2.8/35mm, probably Ilford HP3.
To rewrite the original info: using a 35mm lens relatively close up was supposed to induce a mild distortion at the top and bottom edges. Quite why we all thought it cool back then, I'm not sure. Perhaps we followed the music, where distortion was also big news...
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Film is a format, digital is a format... 'Format Agnostic' means no restrictions.
Post on! ;)
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I'm all up for more quality pictures, so keep 'em coming even if you have to dig up stuff from the last century! :P
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I'm all up for more quality pictures, so keep 'em coming even if you have to dig up stuff from the last century! :P
To fit in with the 'professional' part, that's the only route available for me, even though it involves dangerous time travel...
;-)
Rob C
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This was from a Hewden/Stuart Group calendar shot in the Bahamas.
(The model's Georgie; she was in one of Patrick Lichfield's Unipart calendars; I often used the same girls after him; if they could do it with him, then I felt there wasn't a valid reason they couldn't do it with me, too. You need to give yourself these added challenges in life or you might fall into being smug, from whence it's the always very near dump!)
It's a small part of a 64 ASA Kodachrome Pro on Nikon F or F2. I'm pretty sure it was the 3.5/135 Nikkor.
Rob C
(http://www.roma57.com/uploads/4/2/8/7/4287956/2211969_orig.jpg)
P.S. The blurry caption glitch has been fixed; thanks, guys!
P.P.S. Struck me that there was a lot of life going on before af...
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(http://www.russellrutherford.com/comp_1_el_m.jpg)
Without being accusatory, I've learned a great deal in the last week.
Yes metadata is yours and copyrightable with case history to back it up.
Though from what I've been told and let me repeat that what I've been told by the hosting companies this "possibly" isn't a case of taking metadata, this type of behavior comes from essentially a plug in with a page link that hooks to the word press document where someone places in everything that a search engine could possibly pick up.
Like for example, Joe Kitchen photo, Joe Kitchen photography, Kitchen Film, The Photography Of Joe Kitchen etc. etc. etc.
Then an seo "optimization firm" (I use this last term loosely) boosts your number of relevant hits through a number of tricks to raise your google ranking. Obviously it's designed to target Google as our issue doesn't show up on bing, yahoo, etc.
And there are remedies from filing a dmca takedown notice, which Google takes seriously, to contacting goggle directly.
Actually it seems to me thaat Google is a target as much as our studios and if this type of behavior runs unchecked, then Google becomes irrelevant.
Imagine typing in Apple and the top result comes up Apple Computers but is actually hooked to Samsung.
If this goes unchecked than search engines become marginalized.
In regards to further action, that's up to the IP lawyers you employ.
What I've learned is the common thought is protection of your name, your business isn only available to the big guys like Apple, or Ford, but that's far from the truth.
What it takes to get a remedy takes some time, research and the willingness to stay with an issue until you get an honest resolve, for all parties.
IMO
BC
Not wanting to go through the details which I think I have posted here in the past I think it pretty obvious that it's SEO that is irrelevant because of the big G.
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Okay, another calendar Kodachrome, again tight crop, with a Mallorcan setting which you can't see in the crop.
In contrast with many other people, I have found that using Kodachrome 64 Pro as a source for later b/w conversions works well. I'm not sure that I'd have been totally willing to have used it intentionally as a starting point for b/w work, but nonetheless it has provided me with some material I like.
I've tried models with the original 135 Velvia 50, which everyone said was hopeless for skin, but I had to make my own mistake because, living here on the island, I could get E6 done easily enough but Kodachrome had to go to Lausanne (Madrid was terrible IMO) and that meant weeks... Anyway, vox pop was right, and it was too amberish (reminded me of Kodachrome through a warming filter which I tried on the odd overcast day and hated: it didn't look natural at all).
Making b/whites from Velvia worked, but the contrast was a bit too high for my taste.
Rob C
(http://www.roma57.com/uploads/4/2/8/7/4287956/8753788_orig.jpg)
Aren't women wonderful?
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Christmas in September. Already working for holidays.
Sony A7R+ Kipon Tilt Shift + Pentax 645 120mm Macro, Nikon G 85mm 1.8, Nikon G 60mm Macro.
(https://dl.dropboxusercontent.com/u/10120389/Food/_DSC0272.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Food/_DSC0288.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Food/_DSC0233.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Food/_DSC0304.jpg)
ACH
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I shouldn't watch this thread one hour before lunch!
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I shouldn't watch this thread one hour before lunch!
Even worse when you know you're going to have to get up and make it!
Rob C
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;D 8)
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Antonio, love the first one and last one. The 2nd, I am not sure red food in a red cup is good; the food tends to get lost. The third one, well I am sure that is as appetizing as you can make that look, what ever it is.
Have a couple Manhattans! ;D
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Joe, the red bowl is papaya sweet. 8)
I'll like your Manhattans shot, I'll like to try them. : :D
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Thanks Antonio. Manhattans are my drink!, well, actually, Distrito Federals are my drink but they look exactly like Manhattans and more people know what a Manhattan is, so ...
I am finding product work to be quite interesting and a nice change.
Here's about $125 worth of towels I'll be returning in a couple of days.
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Thanks Antonio. Manhattans are my drink!, well, actually, Distrito Federals are my drink but they look exactly like Manhattans and more people know what a Manhattan is, so ...
I am finding product work to be quite interesting and a nice change.
Here's about $125 worth of towels I'll be returning in a couple of days.
Very nice. Has the bright, cheery look I associate with this kind of a product shot. Well arranged and well lit.
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Yes indeed cery nice, and if you see Joe, interiors photogrphy is a still life as well, so you are closer to it than it may seem.
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Antonio, good thing I just had lunch. Your food really looks great.
Joe, stop trying to tempt me a way from work ;)
Now, something completely different.
(http://41.media.tumblr.com/0454431ea5f824e8b304217753784478/tumblr_nv5xnss0j81qlyunfo5_1280.jpg)
Fashion designer modeling her own creations. Minimalist set-up, no make-up, no lights, not re-arranging stuff. And no retouching. Mamiya C220, 105mm, Portra.
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Uh Martin I used to have a Mamiya 220 loongg time ago. They are precious.
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Another from my continuing excursion into still life. Compliments of IKEA's return department. ;)
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Uh Martin I used to have a Mamiya 220 loongg time ago. They are precious.
Antonio, I bought it on a whim, and found that I like it much more than I expected. So far I have resisted getting additional lenses, but knowing me there is only so long that I can resist.
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If the C220 is the one before the C330 or whatever, which I had only with a 180mm because I couldn't afford a 150mm for my 'blad at that time, then buy a 180mm: mine was a much nicer lens than the eventual 150mm Sonnar that I bought.
A warning: trying to use the red, moving indicator at the top of the screen with a long lens close up is a pain in the ass, and definite turn-off.
Below a shot, full-frame, with the 180mm Sekkor. Original on Ektachrome. Dupe made via D700.
The brolly was a real one, a large black gentleman's job with many interior coats of white emulsion. For years I used to bounce a Metz (or was it Braun?) F700 into it with a domestic bulb wired up as modelling light. It worked. Better, in fact, than my eventual real monoblocs because the shoulder unit flash had a much faster flash exposure.
Rob C
(http://www.roma57.com/uploads/4/2/8/7/4287956/3232976_orig.jpg)
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JoeKitchen colours and clarity are great but to my eyes it looks 'arranged' which I'm guessing isn't what you're aiming for.
Mike
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JoeKitchen colours and clarity are great but to my eyes it looks 'arranged' which I'm guessing isn't what you're aiming for.
Mike
Not really sure what I am going for. This is not my favorite one so far. I am very much drawn to the edgier darker images, but not sure if that would work with everything.
Still exploring I guess.
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Joe for what I see, it is a very well conceived commercial still life.
Just do it!
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I'm sorry, I didn't realise it was commercial in which case it's very good as you can see and appreciate everything in the image. I thought it was a personal still life setup in which case maybe you'd inject a bit more of yourself - no offence intended but I'm not sure how else to express myself :)
Mike
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Thanks Antonio and Mike. I would like to produce 3 to 5 new images a week for this new portfolio. Hope that is not pushing it.
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If the C220 is the one before the C330 or whatever, which I had only with a 180mm because I couldn't afford a 150mm for my 'blad at that time, then buy a 180mm: mine was a much nicer lens than the eventual 150mm Sonnar that I bought.
A warning: trying to use the red, moving indicator at the top of the screen with a long lens close up is a pain in the ass, and definite turn-off.
Rob, the C220 is same generation, but without all the mechanical connections (like the moving indicator), and hence less likely to break, or such is the idea. I'll try the 180mm. It seems this is a particularly nice focal length. Two my favorite (and very different) lenses are the Fuji 180mm 3.2 for the GX680, and the Zeiss 180mm for the Pentacon 6.
I am not hip enough for a 'blad ;)
Also, keep posting your photos. I like seeing them, and "recent" is a relative concept :D
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This might be a little garish for the purists but it certainly makes an impact.
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Rob, the C220 is same generation, but without all the mechanical connections (like the moving indicator), and hence less likely to break, or such is the idea. I'll try the 180mm. It seems this is a particularly nice focal length. Two my favorite (and very different) lenses are the Fuji 180mm 3.2 for the GX680, and the Zeiss 180mm for the Pentacon 6.
I am not hip enough for a 'blad ;)
Also, keep posting your photos. I like seeing them, and "recent" is a relative concept :D
Thanks Martin, for the comment on my pix.
Another thing with the Mamiya and the 180mm was that I used it for shooting close-ups of textile colour swatches for clothing manufactures. The big bellows extension allowed very good near-focus and that was another thing the 'blad did not. You had to buy extension tubes that cost a mint. I do know that once l lost the 180mm I never stopped wishing that I still had it. When I bought the 150mm for 'blad their later 180mm didn't exist, much to my disgust when it was introduced. ;-(
Rob C
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In the infamous words of Uncle Buck, "I'm on to cigars now!" And yes, that is real smoke; no Photoshop tricks here. 8)
P.S.: so far I have shot all of these still lifes with my Arca RM3Di & Rodenstock 90mm, and I have been pleased with the system overall. However, with the cigars, I really wish I had a M Line 2. I really wanted to get one top label and one foot label in focus, but the R did not give me nearly enough swing.
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In the infamous words of Uncle Buck, "I'm on to cigars now!" And yes, that is real smoke; no Photoshop tricks here. 8)
P.S.: so far I have shot all of these still lifes with my Arca RM3Di & Rodenstock 90mm, and I have been pleased with the system overall. However, with the cigars, I really wish I had a M Line 2. I really wanted to get one top label and one foot label in focus, but the R did not give me nearly enough swing.
Joe, your lighting is looking pretty good. But I find my eye wondering too much in your recent batch of still lifes. My two cents: 1) use selective focus and lighting to separate ground from figure. Look at ads in upscale magazines for inspiration. 2) Simplify. The smoke in the cigar shot is extraneous; the bourbon bottle looks great, especially the way it reflects off the table, and the subtle warm swath of light in the background does a nice job of creating depth. However, the cigar cutter, martini glasses, and wine bottles are distracting. Also, I think the bourbon in the glass looks a bit watered down. Try using a fake ice cube--or forget the ice cube and shoot the bourbon straight up.
The lighting in your kitchen scenes is looking good. Your pictures will look more pleasing if you create some distance between your subjects and backgrounds.Experiment with selective focus. It's okay to let parts of the scene (foreground, midground, and background) blur out. And as far as flower arrangements go, I suggest spending a week just shooting nothing but flowers in glass vases. That will most certainly be a painful exercise, but I think you'll acquire a lot of skill from it.
A view camera is your best option for tabletop photography. You've alredy got a great lens and a decent back, so why not buy a used studio 4 X 5 camera (not a Sinar F or a lightweight Arca) something modest like a Horseman to get your feet wet.
Please don't take my advice as criticism. Tabletop photography is extremely difficult, however it can be quite fun and challenging. You may want to use modeling clay, armature wire, tiny blocks, wires, clamps and tape to finesse the positions of your props. Amazing how tilting a reflective object a few degrees in any direction can make a good picture even better.
Good luck and keep shooting.
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In the infamous words of Uncle Buck, "I'm on to cigars now!" And yes, that is real smoke; no Photoshop tricks here. 8)
P.S.: so far I have shot all of these still lifes with my Arca RM3Di & Rodenstock 90mm, and I have been pleased with the system overall. However, with the cigars, I really wish I had a M Line 2. I really wanted to get one top label and one foot label in focus, but the R did not give me nearly enough swing.
Like the whiskey photo a lot: lighting, concept and composition. I find the cigars photo less compelling. Bob's critique makes sense to me.
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Thanks for sharing your pictures Joe, I really like them! And thanks Bob for the tips, I'm always learning something new in here or getting inspired to do better and more!
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Joe, your lighting is looking pretty good. But I find my eye wondering too much in your recent batch of still lifes. My two cents: 1) use selective focus and lighting to separate ground from figure. Look at ads in upscale magazines for inspiration. 2) Simplify. The smoke in the cigar shot is extraneous; the bourbon bottle looks great, especially the way it reflects off the table, and the subtle warm swath of light in the background does a nice job of creating depth. However, the cigar cutter, martini glasses, and wine bottles are distracting. Also, I think the bourbon in the glass looks a bit watered down. Try using a fake ice cube--or forget the ice cube and shoot the bourbon straight up.
The lighting in your kitchen scenes is looking good. Your pictures will look more pleasing if you create some distance between your subjects and backgrounds.Experiment with selective focus. It's okay to let parts of the scene (foreground, midground, and background) blur out. And as far as flower arrangements go, I suggest spending a week just shooting nothing but flowers in glass vases. That will most certainly be a painful exercise, but I think you'll acquire a lot of skill from it.
A view camera is your best option for tabletop photography. You've alredy got a great lens and a decent back, so why not buy a used studio 4 X 5 camera (not a Sinar F or a lightweight Arca) something modest like a Horseman to get your feet wet.
Please don't take my advice as criticism. Tabletop photography is extremely difficult, however it can be quite fun and challenging. You may want to use modeling clay, armature wire, tiny blocks, wires, clamps and tape to finesse the positions of your props. Amazing how tilting a reflective object a few degrees in any direction can make a good picture even better.
Good luck and keep shooting.
You don't like the smoke? Awww ... I am not so sure I agree. I did one without the smoke and felt it was missing something. Although this image is still quite fresh, so in a couple of weeks I may feel differently.
For the bourbon shot, I do agree the martini glass is distracting and that the bourbon in the glass looks watered down. I did capture one with fake ice cubes where it looks richer. I may remove the martini glass and swap the ice cubes. I do like the cigar though; I picked that specific cigar because I was told it would pair well with that specific bourbon. The idea was to create a bourbon/cigar pairing that would make sense while focusing more on the bourbon. I tried 3 cigars, but it did not look right; a single cigar was not enough, so I added the cutter. Maybe it works, maybe not; I am pretty new to this, so ...
I know when I started shooting architectural, many images I felt at the time looked good I can't stand having my name associated with now.
I do appreciate the comments; you seem very experienced with this genre and it is good feedback so far. Although, I may need some more pushing to dedicate a week of shooting to just flowers.
As far as using a view camera, I would love one but all in good time. The R system works well for now and is a better option then any SLR. I don't want to get a cheap Horseman (or whatever) since I would need to un-mount my 90mm and through off its calibration to the R system.
My fiancé is a food and beverage photographer and needs to maintain prospects too occasionally. Right now she is using an IQ260 on a DF+, leveling, shooting wide and cropping in, which is not an ideal situation either. We have agreed to eventually split the cost of an M Line 2 and keep it as a studio camera. Maybe in a year I will have some paid still life shoots under my belt and then we will move up to the M system.
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many images I felt at the time looked good I can't stand having my name associated with now.
I feel like this applies to me as well. The more I see some of my old photos, the more I dislike them.
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My fiancé is a food and beverage photographer
Joe, what is your fiancé's website, I would like to visit it.
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Joe, you are on the road to success so long as you keep shooting. I do see used M-Line Arcas come up on occasion. It's a great camera.
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This one for the Tennent's Lager Centenary round-the-world calendar. Recent, as in 80s!
Partly fun...
Rob C
(http://www.roma57.com/uploads/4/2/8/7/4287956/2126414_orig.jpg)
Model: Suzi, who also did Lichfield's Sicily '82 Unipart.
Nikon F or F2, Kodachrome 64 Pro
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Rob, Beautiful image, Beautiful model.
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Rob, Beautiful image, Beautiful model.
Thank you, Antonio; there used to be quite a lot of them (beautiful) floating around the London agencies at the time. The one's I invited to castings were "Page 3" models (happy to do topless etc.) and mainly quite fun to be around. I didn't run into really temperamental ones at all with calendars, but some of the fashion girls were sometimes a bit iffy... which wasn't surprising when so many of the clothes that we had to shoot were far too big for them - nobody comes out smelling of roses on those occassions.
One good thing about digital: I would have been able to figure out, today, which lens I had used! I can't decide what the hell it was done with - I think 4/200mm but doubt that because there seems to be too much DOF. I know I was consciously trying to introduce some colour blur, and the longer the lens the better it can work for that sort of thing.
Again, thanks for the nice post, I really need something like that because I was up all night throwing up and haven't eaten anything at all today (5.30p.m.) just gulped tea and water. I suppose it was food poisoning, but if it was, then as I made the last meal I can't very well can't sue anybody! ;-) Anyway, I'm sure I have a temperature right now, but I suppose it'll pass by mañana.
Rob
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We recently completed this two day assignment for a local design firm. The project is a new brochure for a real estate management firm and they wanted to showcase various neighborhoods in Chicago. It was a VERY different way of working for me. Totally off the cuff. I used the A7rII mostly with the Canon 17-40 and 70-200. We made about 950 images over 20 hours. I edited these down to 100 and now the agency has to pick their favorite 30. Here are a few of mine...
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xat1/t31.0-8/12138325_10206777464770271_2311320900164477766_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xat1/t31.0-8/12140094_10206777463850248_3356865532217447965_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xpa1/t31.0-8/12080077_10206777464050253_5156279979026633945_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtl1/t31.0-8/11226573_10206777465490289_8257630478793990374_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtp1/t31.0-8/12138394_10206777465650293_3359585714616321392_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xla1/t31.0-8/12091157_10206777463970251_6365713716278018133_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xlt1/t31.0-8/12091319_10206777463570241_1715764218266787478_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtp1/t31.0-8/12068748_10206777464370261_8482442768479392979_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtp1/t31.0-8/12068584_10206777464490264_3868695935189197535_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xpt1/t31.0-8/12079997_10206777464690269_7900118663982079497_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xap1/t31.0-8/12095095_10206777466210307_1384732402454733072_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtp1/t31.0-8/12080054_10206777464970276_9038779196722637497_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xpt1/t31.0-8/12028650_10206777466650318_5811703314212326394_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xlp1/t31.0-8/12039131_10206777466050303_7705801532992195951_o.jpg)
-CB
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Thank you, Antonio; there used to be quite a lot of them (beautiful) floating around the London agencies at the time. The one's I invited to castings were "Page 3" models (happy to do topless etc.) and mainly quite fun to be around. I didn't run into really temperamental ones at all with calendars, but some of the fashion girls were sometimes a bit iffy... which wasn't surprising when so many of the clothes that we had to shoot were far too big for them - nobody comes out smelling of roses on those occassions.
One good thing about digital: I would have been able to figure out, today, which lens I had used! I can't decide what the hell it was done with - I think 4/200mm but doubt that because there seems to be too much DOF. I know I was consciously trying to introduce some colour blur, and the longer the lens the better it can work for that sort of thing.
Again, thanks for the nice post, I really need something like that because I was up all night throwing up and haven't eaten anything at all today (5.30p.m.) just gulped tea and water. I suppose it was food poisoning, but if it was, then as I made the last meal I can't very well can't sue anybody! ;-) Anyway, I'm sure I have a temperature right now, but I suppose it'll pass by mañana.
Rob
Rob, hope you get well. Leave drama for photography only. Tomorrow you'll be fine!
ACH
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We recently completed this two day assignment for a local design firm. The project is a new brochure for a real estate management firm and they wanted to showcase various neighborhoods in Chicago. It was a VERY different way of working for me. Totally off the cuff. I used the A7rII mostly with the Canon 17-40 and 70-200. We made about 950 images over 20 hours. I edited these down to 100 and now the agency has to pick their favorite 30. Here are a few of mine...
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xat1/t31.0-8/12138325_10206777464770271_2311320900164477766_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xat1/t31.0-8/12140094_10206777463850248_3356865532217447965_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xpa1/t31.0-8/12080077_10206777464050253_5156279979026633945_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtl1/t31.0-8/11226573_10206777465490289_8257630478793990374_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtp1/t31.0-8/12138394_10206777465650293_3359585714616321392_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xla1/t31.0-8/12091157_10206777463970251_6365713716278018133_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xlt1/t31.0-8/12091319_10206777463570241_1715764218266787478_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtp1/t31.0-8/12068748_10206777464370261_8482442768479392979_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtp1/t31.0-8/12068584_10206777464490264_3868695935189197535_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xpt1/t31.0-8/12079997_10206777464690269_7900118663982079497_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xap1/t31.0-8/12095095_10206777466210307_1384732402454733072_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xtp1/t31.0-8/12080054_10206777464970276_9038779196722637497_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xpt1/t31.0-8/12028650_10206777466650318_5811703314212326394_o.jpg)
(https://scontent-ord1-1.xx.fbcdn.net/hphotos-xlp1/t31.0-8/12039131_10206777466050303_7705801532992195951_o.jpg)
-CB
Downtown Chicago is so nice, and clean. Although I am partial to the architecture in NYC, the many miles of scaffolding can really ruin great shots sometimes. Insofar as architecture, I feel Chicago is the most photogenic.
The winters are way too serious for me though!
Thanks Chris.
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Chris, nice images! I very much like the way your printing style/look works to produce an atmosphere.
How did it feel for you, going free and not to a 'plan'?
Also, I'm going a bit nuts looking into the window shot of the two women and the mannequin: how come there's pattern over 'her' face when it should, logically, be behind her? Having a liking for doing such shots myself, I shouldn't question it, but I can't avoid thinking I'm missing something very, very evident!
Rob C
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Hi Rob,
I mentioned this earlier in this forum and do it again: You are a true artist. The beauty of this girl shines even if she fills only a very small area of the image. You show only little of the face, shoulders and little of the leg. The rest is done by the imagination of the viewer. You can tell, she is a beauty - she needs no Photoshop treatment. This is perfect. Thank you. I admire your work.
Best,
Johannes
Well, thank you very much, Johannes.
For pix to look much, it takes both sides of the camera to be in tune, and that's why I used to fight my corner to try and get the girls that I felt had it. On this shoot, the last that I did for the company in a series of six or seven, she was the only real model, as in 'experienced'. For admin./political purposes that I never understood, the decision had been made to use all-Glasgow girls, and when I objected and complained about the lack of experience they would have, I was told well, you'll just have to work harder, then, won't you. Just shows how little some decision makers understand about the medium they make decisions about. This was sprung on me after I'd already booked this girl in London, so they couldn't screw everything up.
Opportunity of a lifetime sabotaged. For all of us involved. Not hard to figure why some photographers end up taking themselves out.
Rob C
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Opportunity of a lifetime sabotaged. For all of us involved. Not hard to figure why some photographers end up taking themselves out.
Rob C
How did you manage it with inexperienced models? I've been thrown in a few shootings last year, but always felt the models considered themselves "pro" simply because they were charging money for it. One in particular was pretty much like a doll, we had to tell her everything otherwise she would freeze in the last pose she did. Very little collaboration, it was extremely onesided and frustrating most of the time.
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How did you manage it with inexperienced models? I've been thrown in a few shootings last year, but always felt the models considered themselves "pro" simply because they were charging money for it. One in particular was pretty much like a doll, we had to tell her everything otherwise she would freeze in the last pose she did. Very little collaboration, it was extremely onesided and frustrating most of the time.
How did I manage it? I don't think that I did. I handed in pictures at the end of it all, and showed the completed production to nobody. In fact, I didn't even handle the production - for the first time it went to another company doing different promotional stuff for the client. As memory serves, there were three pages devoted to that London girl, the rest I'd rather forget. As bad, I never got back my trannies and have next to nothing left from that Singapore leg of the shoot. I only have left what I didn't offer... perhaps I already felt where it was going, could smell the drain.
The problem was, as with your experience, some thought it enough to have been paid for a couple of gigs, and that made you a pro, pretty much as it seems to be the case now with some photographers. In fairness, those 'local' girls never had the opportunities to develop their craft, but writing that may simply be myself trying hard to be kind. I began with a few girls from the Glasgow Drama College where I'd spoken with the management and asked to be allowed to put up a small gallery (exaggeration! a few prints!) in the foyer. As I wasn't looking for money, it suited both sides and I got some nice stuff from one or two girls. Later on, once I was out on my own (it was during the pirate radio era), a commercial on Radio Scotland advertised a new model agency set up by Clem Bettany. I went to see her, and we fixed some test shots of some girls.
It was the best photo favour that I gave myself: one evening, into the studio walked this girl with a pile of clothes and accessories, and we got to work. It was instantaneous. She just had it, in spades. She became my muse and we did everything together that I could offer her, clients willing, and the truth, which I will always be perfectly willing to admit, is that we taught each other all we ever learned about the business of models/photographers. I never found another to replace her input. She just understood images. We'd work together even without clients, just for the hell of it. You can't buy that. Yes, it was totally platonic.
But inevitably, time moves on, folks age, get married, have kids; after the cals arrived I was able to use London exclusively as a model source, and you can never go backwards on that one.
Rob
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Thanks for sharing your experience!
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Here are a few more still life images I put together. I was going for more of a brighter window light kind of feel.
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Some more calendar Kodachrome. Nikon.
Rob C
(http://www.roma57.com/uploads/4/2/8/7/4287956/6769207_orig.jpg)
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Another one on Nikon, with 2.8/35 Nikkor, Kodachrome 64 Pro.
For a Tennent's Lager calendar, where the orignal brief had been to do it in 'painterly' manner. Tickled to bits at the thought of trying something grainy and softer than usual, free from tripods, I took the client the Sarah Moon '72 (?) Pirelli to see, which was the most 'painterly' work I'd seen a photographer make. Client almost had a heart event. Not what was meant at all... We did it normally.
C'est la vie, or c'est la guerre!
Rob C
(http://www.roma57.com/uploads/4/2/8/7/4287956/5584082_orig.jpg)
The shawl belonged to my grandmother; it was either Italian or Spanish, probably the latter.
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Rob it came out just amazing.
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Rob,
Your calendar work is really stunning.
If Playboy had any brains, they would hire you and pay for all your expenses including models.
Eric
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Antonio, Eric: thank you very much! Now make me viral within Playboy's offices and you never know! ;-)
Seriously, though, if it works, it does so because, for me, glamour was always nothing more than the logical extension of my fashion work. In the end, if not the beginning, you simply have to love and respect women as equal and often very superior beings to us males. Showing their pretty bits isn't anything to do with 'demeaning'; more, and particularly because none of these girls is forced to participate, it's a very real celebration of the happiness that they often feel within and about themselves.
That doesn't make them any the less prone to all the doubts and questions that plague the rest of us blessed/cursed with any sense of self, just that if God gave you something extra, why be shy about it?
As Cooter would sign off: IMO!
Rob C
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I photographed this showroom kitchen for a client earlier this week. My back was right up against the wall, and the shot was slightly cropped to fit the layout better. 24mm tilt and shift lens and 4 or 5x speedlite flashes.
I would appreciate it if the interior and architecture pros can tell me how I could improve on this....I work with very low budgets and no assistants and usually spend quite some time afterwards fixing the ceilings, colour balance etc etc
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I photographed this showroom kitchen for a client earlier this week. My back was right up against the wall, and the shot was slightly cropped to fit the layout better. 24mm tilt and shift lens and 4 or 5x speedlite flashes.
I would appreciate it if the interior and architecture pros can tell me how I could improve on this....I work with very low budgets and no assistants and usually spend quite some time afterwards fixing the ceilings, colour balance etc etc
I think the view and light look good. The propping should be cut in half I'd say though, way too many items that distract from the design. Also, I would have shot a version with the two hanging lamps on and tried a bracket using only the existing light to blend in if it looks better.
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To add to the excellent points above, the chairs on left being slightly cropped is what caught my eye as did the fruit bowl as it's a bit hot and dominating size wise.
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Thanks all for your superb suggestions! I agree on everything you guys had to say and I will keep it in mind for next time..
Agreed on the styling, its just too much imo also, but it was the way the client wanted it as its his showroom.
Thanks for the tips re the black card to kill the oven reflections.
Yes, I will remember to remove that darn flash!
As its a showroom the ceilings are very low, lower than usual, but agreed that they are too low.
I had a look at all your websites and I must say I got good advice from superb photographers...Thanks again!
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Late to discussion as usual -
I agree as per the comments by Paul and James,
- less props (is the client selling the kitchen or props?)
- if that distance / angle really is that tight I would sacrifice a little floor and include more ceiling to help reduce that falling forward effect
- watch those little details - fingerprints on table, equipment behind counter, etc..
Pretty good image overall though!
Regards
Sam
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Posted these in the MF sub-forum as well; meant to post them here actually. This is a french chocolate retailer we shot in Manhattan last week.
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Here are couple more from my continuing exploration of still life.
Bonus points to whomever can name the spices and the wood they are resting on. (Hint on the wood, that is its natural color, it has not been stained.)
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Shot this bear of an image yesterday. The amount of light I had to pump through that bottle to get it to glow was immense. I used 5 strobes, 2 tungsten fresnels, 8 to 10 candles (both in and just out of set), plenty of gold foil and mirrors, and a 2 second exposure.
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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
How in the world could you sell a professional image with that much noise? [/sarcasm]. :).
That's an interesting series of images for you James.
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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
These are pretty damn sweet! The noise in the ceiling in the first one does bother me a bit though. Maybe bring just the ceiling down a half stop?
Please tell me you were actually in a helicopter for these. A model who can also fly a chopper, that's one interesting casting call.
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Boy you people are picky. I actually like the noise in the large images, but for you guys it's gone.
These three images are out of lightroom wit no photoshop work yet. Obviously when we get to finals they will go through more post.
This is a difficult project to explain. We had this session on the schedule but due to normal stuff, we took off late and were quickly in available darkness or close to it.
I had about 11 minutes to prepare and have a harness and was tethered in, which was good because sometimes it would be as smooth as a jetliner, sometimes it was a like being tossed in a blender.
These guys were good and loved to hot rod around, maybe just to see how much we could endure.
We pulled 16 hour shoot days, with two hours of pre pro in the morning, 2 at night, traveled with 4 vehicles 1800 miles and came out of the trucks with cameras in hand, including the REDs, the Sony A7SII, a 70d and the 1dx.
The 1dx was obviously for stills but every session with movement was shot in long bursts as we are tasked at cutting together a cut frame video so just going through the count, we shot 25,696 still frames and 10 hours of motion footage in 5 days shooting 3 days travel.
It's been two days since we wrapped and most of the crew is still sleeping.
The hardest part of this project is the editing of what I like and divorcing myself from the difficulty of the shot to the artistic value and storyline.
The little Sony for video was great, though we did destroy one lens and was as careful as possible with it, the 1dx was amazing and with what it went through I was sure it would just die, but it kept on.
IMO
BC
James. I actually liked the noise, I was being silly. Still a really different type of shoot for you and your got some great images.
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Boy you people are picky. I actually like the noise in the large images, but for you guys it's gone.
These three images are out of lightroom wit no photoshop work yet. Obviously when we get to finals they will go through more post.
This is a difficult project to explain. We had this session on the schedule but due to normal stuff, we took off late and were quickly in available darkness or close to it.
I had about 11 minutes to prepare and have a harness and was tethered in, which was good because sometimes it would be as smooth as a jetliner, sometimes it was a like being tossed in a blender.
These guys were good and loved to hot rod around, maybe just to see how much we could endure.
We pulled 16 hour shoot days, with two hours of pre pro in the morning, 2 at night, traveled with 4 vehicles 1800 miles and came out of the trucks with cameras in hand, including the REDs, the Sony A7SII, a 70d and the 1dx.
The 1dx was obviously for stills but every session with movement was shot in long bursts as we are tasked at cutting together a cut frame video so just going through the count, we shot 25,696 still frames and 10 hours of motion footage in 5 days shooting 3 days travel.
It's been two days since we wrapped and most of the crew is still sleeping.
The hardest part of this project is the editing of what I like and divorcing myself from the difficulty of the shot to the artistic value and storyline.
The little Sony for video was great, though we did destroy one lens and was as careful as possible with it, the 1dx was amazing and with what it went through I was sure it would just die, but it kept on.
IMO
BC
Super interesting story BC.
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A bit out of my Wheelhouse...
Part of a series of photos of a rooftop Bonsai garden.
Canon 1Ds3, 17-40L
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Private residence, Santa Fe, NM:
(http://www.slobodanblagojevic.com/img/s11/v27/p1748874484-4.jpg) (http://www.slobodanblagojevic.com/p934431608/e683db4f4)
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I was in Calgary over remembrance day so decided to go and visit Sir Norm and the Bow.
Shot on the 5dsr +TSE 17 and the Pentax 645z + FA150/2.8 handheld
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This ended up on the cover of this Artists album. D810 + 135 f/2
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I was in Calgary over remembrance day so decided to go and visit Sir Norm and the Bow.
Shot on the 5dsr +TSE 17 and the Pentax 645z + FA150/2.8 handheld
Those are nice. I like the overall in color; the details work very well as black and white.
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Got the news tonight:
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Got the news tonight:
Nice going!!
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Got the news tonight:
Congratulations.
Jeremy
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A beautiful classical theater: Scottish Rite Masonic Center - Santa Fe, New Mexico:
(http://www.slobodanblagojevic.com/img/s11/v29/p1797511999-3.jpg) (http://www.slobodanblagojevic.com/p681798102/e6b23db3f)
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Those are nice. I like the overall in color; the details work very well as black and white.
Thanks Joe.
I agree on both those observations - though the BW overall has a feeling of turmoil about it that I like.
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Happy Holidays, everyone!
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Scott, Nice image. Happy Holidays.
ACH
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Got the news tonight:
Congrats Slobodan!
Mark
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Happy Holidays, everyone!
Thanks Scott, and Holiday wishes to all of my forum friends.
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Happy Holidays, everyone!
Happy Holidays as well.
Nice image Scott.
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Got the news tonight:
My congrats, too, Slobodan!
Eric
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Tilapia Fish.
(https://dl.dropboxusercontent.com/u/10120389/Food/Taino0116_01.jpg)
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More Tilapias.
(https://dl.dropboxusercontent.com/u/10120389/Food/Taino0116_15.jpg)
(https://dl.dropboxusercontent.com/u/10120389/Food/Taino0116_08.jpg)
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Antonio, liking the last two; very nice. The first fish image looks a little off, like the perspective is not right.
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Ikon motorhome...
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Ikon motorhome...
Craig, That's nicely handled!! Is the truck in the studio or outside with a few lights?
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Craig, That's nicely handled!! Is the truck in the studio or outside with a few lights?
Outside, on a really crappy day. Lots of Photoshop, to make something from nothing. Started basically from here. I had a number of brackets to layer.
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Quite an improvement I'd say!
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Quite an improvement I'd say!
The original photo was actually not requested by the client. As a rule we get a day to shoot these motorhomes inside and out and we spend the bulk of the day inside shooting interiors. We usually get them the day they are finsihed and the day before they ship. There is never any time to do more than roll the unit our into the lot and shoot it in whatever light we have....in this case heay overcast and drizzle.
So anyways it was dark enough that the running lights were visable so I exposed the front view, not really knowing what I would do with it. The rest is just me playing with the images for fun...
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The original photo was actually not requested by the client. As a rule we get a day to shoot these motorhomes inside and out and we spend the bulk of the day inside shooting interiors. We usually get them the day they are finsihed and the day before they ship. There is never any time to do more than roll the unit our into the lot and shoot it in whatever light we have....in this case heay overcast and drizzle.
So anyways it was dark enough that the running lights were visable so I exposed the front view, not really knowing what I would do with it. The rest is just me playing with the images for fun...
Craig , I know your are an expert on this but If it could be of any help, I used to do Mack trucks for a dealer and we surrounded the truck with white cardboard so it give us a nice reflection on wheels and lower part. Also some powerful lighting to give it a shine. All this in the parking lot of the dealer. Then Photoshop.
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Craig , I know your are an expert on this but If it could be of any help, I used to do Mack trucks for a dealer and we surrounded the truck with white cardboard so it give us a nice reflection on wheels and lower part. Also some powerful lighting to give it a shine. All this in the parking lot of the dealer. Then Photoshop.
Oh I wish. All of that requires time, which is not something I have an over abundance of with this client. It's generallly a 20 - 30 shot day, including motorhome interiors.
I do appreciate the suggestions my friend.
The units look like this...
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They're awesome, Craig. One day..
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Bathroom interiors. A7RII + 14-24 Nikon G on a Kipon T-S adapter.
(https://dl.dropboxusercontent.com/u/10120389/AltonRD/_DSC6478.jpg)
Dining room detail, important lamp. A7RII + 14-24 Nikon G on a Kipon T-S adapter.
(https://dl.dropboxusercontent.com/u/10120389/AltonRD/_DSC6540%202.jpg)
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The free standing mirror confused me at first, making it look like that side of the photo was skewed. But I like the blown out windows....they fit.
Nice stuff.
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Bathroom interiors. A7RII + 14-24 Nikon G on a Kipon T-S adapter.
(https://dl.dropboxusercontent.com/u/10120389/AltonRD/_DSC6478.jpg)
Dining room detail, important lamp. A7RII + 14-24 Nikon G on a Kipon T-S adapter.
(https://dl.dropboxusercontent.com/u/10120389/AltonRD/_DSC6540%202.jpg)
I like the look of these, except I have some qualms about the amount of wideangle distortion in the bathroom shot and wonder if it really needs to be that wide.
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David, thanks for your comments. It doesn't need to be that wide but it's the client wish in this case. I shot other options and angles as well.
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Been scouting a waste plastics selection plant for some good shots. The place is rather nice and well lit during the day, which will make the work a lot easier.
(http://i845.photobucket.com/albums/ab14/Andrea_Minganti/SRI-Plant-Lumia_zpsbfayzbgp.jpg)
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A new one from this week, one of the first with the 5Ds.
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Craig, is the landscape photoshopped in?
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Slobodan,
Yes it is, I shoot these things inside the factory. On that day it was snowing like crazy outside :)
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Snow would've been cool as well!
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A couple from a recent mall shoot:
(http://www.slobodanblagojevic.com/img/s2/v51/p1669368838-4.jpg) (http://www.slobodanblagojevic.com/p681798102/e63808c06)
(http://www.slobodanblagojevic.com/img/s7/v162/p2136908786-5.jpg) (http://www.slobodanblagojevic.com/p681798102/e7f5ea3f2)
(http://www.slobodanblagojevic.com/img/s12/v173/p2074215282-4.jpg) (http://www.slobodanblagojevic.com/p681798102/e7ba20372)
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Hi Slobodan,
Great images…, well done!
Best regards
Erik
A couple from a recent mall shoot:
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Recent Apartment in Collins Ave. Miami Beach. Sony A7R2 + Kipon Tilt Shift + Nikon 14-24mm ISO 50. A blending of Ambient, Flash and HDR.
(https://dl.dropboxusercontent.com/u/10120389/ITT%26OCEAN/OceaFrontTown0263.jpg)
(https://dl.dropboxusercontent.com/u/10120389/ITT%26OCEAN/OceaFrontTown0534_08.jpg)
ACH
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Recent Apartment in Collins Ave. Miami Beach. Sony A7R2 + Kipon Tilt Shift + Nikon 14-24mm ISO 50. A blending of Ambient, Flash and HDR.
(https://dl.dropboxusercontent.com/u/10120389/ITT%26OCEAN/OceaFrontTown0263.jpg)
(https://dl.dropboxusercontent.com/u/10120389/ITT%26OCEAN/OceaFrontTown0534_08.jpg)
ACH
Overall, I like the feel of these. However, there is more wideangle distortion than I would prefer for these subjects, at least if the goal is showing off the interior design, rather than selling the dwelling. Also (and this hypertechnical photographer stuff), I am seeing some haze on some of the window frames, which I assume is due either to flare or sensor overload.
By the way, how do you deal with setting the aperture when that adapter has no electronic linkages and that lens has no manual aperture control on it?
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Thanks for your comments David.
The most important comment you made, and this could be an interesting topic for this forum to discuss, is how much furniture to include in one shot. In the dinning shot, we wanted that angle and there wasn't enough space to back up. My concern was not to crop the table glass and to see the lamp feature. For the living room shot I don't consider it to be distorted.
The haze is provably from blending the images, even though I use flash and HDR, the sky had to be composited.
(https://dl.dropboxusercontent.com/u/10120389/ITT%26OCEAN/Detail.jpg)
I did use nail paint to mark my basic stops in the adapter. For this architectural I'm always at f11. So basically I open up, magnified, focus and the close to f11.
How did I get to find out where was f11 in the first place? Well, I used two 24mm lenses, put the camera on a tripod with a mark diaphragm lens at f11 on "A" mode and watch the resulting shutter speed, then change the lens, close the diaphragm until I got the same shutter speed and that is supposed to be f11, marked with nail paint.
This is a great adapter and I totally recommend it. Is super well constructed.
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This is another angle of the dinning room. It is the view as if you were sitting at the head of the table. Important is to see the design table base.
(https://dl.dropboxusercontent.com/u/10120389/ITT%26OCEAN/OceaFrontTown1342_12.jpg)
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Thanks for your comments David.
The most important comment you made, and this could be an interesting topic for this forum to discuss, is how much furniture to include in one shot. In the dinning shot, we wanted that angle and there wasn't enough space to back up. My concern was not to crop the table glass and to see the lamp feature. For the living room shot I don't consider it to be distorted.
The haze is provably from blending the images, even though I use flash and HDR, the sky had to be composited.
(https://dl.dropboxusercontent.com/u/10120389/ITT%26OCEAN/Detail.jpg)
I did use nail paint to mark my basic stops in the adapter. For this architectural I'm always at f11. So basically I open up, magnified, focus and the close to f11.
How did I get to find out where was f11 in the first place? Well, I used two 24mm lenses, put the camera on a tripod with a mark diaphragm lens at f11 on "A" mode and watch the resulting shutter speed, then change the lens, close the diaphragm until I got the same shutter speed and that is supposed to be f11, marked with nail paint.
This is a great adapter and I totally recommend it. Is super well constructed.
Anthony, to be clear, when I refer to WA distortion, I do not necessarily mean the kind that involves stretching at the edges, or anyway only that kind. There is also scale distortion, and that is more what I am referring to in this case. For example, the part of the sofa nearest the camera looks positively huge relative things further back in the scene.
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Designed a poster for a Chicago jeweler:
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Collins Ave. Miami Beach, upper level masters bedroom.
(https://dl.dropboxusercontent.com/u/10120389/ITT%26OCEAN/OceaFrontTown3420_16.jpg)
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From a recent shoot in a Chicago suburb (Naperville):
(http://www.slobodanblagojevic.com/img/s4/v10/p1993928109-4.jpg) (http://www.slobodanblagojevic.com/p934431608/e76d8edad)
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Around noon, I slathered on SPF 50 sun block and stood in one spot for three hours and watched the horizon. I only took ten shots. This one is my favorite. I've deleted the others. Meditation and photography: I like that combo.
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From a recent shoot in a Chicago suburb (Naperville):
(http://www.slobodanblagojevic.com/img/s4/v10/p1993928109-4.jpg) (http://www.slobodanblagojevic.com/p934431608/e76d8edad)
I haven't seen a "sunken" living room space in a decade or two. I remember when it was chic. I see a partially obscured "Cinema" sign. Were they showing a matinee that day? ... Joshing aside, nice work.
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I haven't seen a "sunken" living room space in a decade or two. I remember when it was chic. I see a partially obscured "Cinema" sign. Were they showing a matinee that day? ... Joshing aside, nice work.
It is possible that the sunken living room has less to do with a retro chic, and more with efficient use of energy. The floor is made of ceramic tiles that absorb sunlight in winter. The whole house is apparently a net-zero energy and eco-friendly concept. As for the matinee, there is actually a whole cinema theater behind that sign. Not sure they will keep it (the sign), once the owners move in, though. At least I wouldn't.
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Around noon, I slathered on SPF 50 sun block and stood in one spot for three hours and watched the horizon. I only took ten shots. This one is my favorite. I've deleted the others. Meditation and photography: I like that combo.
Wonderful. So balanced and the colours. I can only dream.
Mike
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Master bedroom in the same home as above:
(http://www.slobodanblagojevic.com/img/s6/v135/p1960610919-4.jpg) (http://www.slobodanblagojevic.com/p934431608/e74dc8c67)
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Master bedroom in the same home as above:
The raised bed compensating for the sunken living area, so on average...
Jeremy
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The raised bed compensating for the sunken living area, so on average...
Jeremy
There are aways ups and downs in a bedroom...or marriage ;)
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There are aways ups and downs in a bedroom...or marriage ;)
And that bedroom displays shocking taste!
No way could I live near it, never mind feel like sleeping - or whatever - in it; as a sickroom, it would end up hosting a death bed. I bet they paid an interior designer. Serves 'em bloody right!
As mere photographer, I absolve you completely, my son...
;-)
Rob
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Time to get some human subjects back into the thread.
Fuji X-T1, 35mm 1.4
(http://66.media.tumblr.com/edd9d776bbc863382eaeb567d333f004/tumblr_o78v1dN1P81qlyunfo3_1280.jpg)
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A lot of the images on this thread are not displaying for me. Any suggestions on why this is happening?
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Apparently, the poster (ACH DIGITAL) has removed the images at their original location (i.e., at another hosting server).
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Apparently, the poster (ACH DIGITAL) has removed the images at their original location (i.e., at another hosting server).
Hi Slobodan
Thanks. I was sure some setting had been changed at my end.
Really like your commercial work. Very clean processing.
FC
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I'm a recent convert to the Sony A7RII and must say I'm loving the IQ. This is a shoot for a carpet and stair edging manufacturer.
(https://dl.dropboxusercontent.com/u/88840150/Forum%20Images/_DSC0371.jpg)
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Here's a recent ad done for Riva Audio. We shot the same concept with a guitar player and drummer as well. Had to have actors who were real musicians as well, otherwise it would just look fake, plus, the owner of Riva would of known the difference. Yes, she could sing and was a complete joy to work with.