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Author Topic: Recent Professional Works  (Read 1318931 times)

David Eichler

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Re: Recent Professional Works
« Reply #3800 on: October 06, 2012, 01:17:42 AM »

Well two different questions. First as you all know, what you see in location is not what the camera sees, so the quotation that t is natural" doesn't really is. When you see a slight tint of blue in real live it translate into a deep blue as you are balancing for tungsten. So it is never natural.
In my case if I can deal with it in camera at location, is faster and easier. If I can not then I'd do it in post.

Some clients allow for more natural reflections and mix lighting, others just don't allow for it. Some clients like little retouching, others ask for a lot.

The problem with mix lighting is that, as I said before was not that intense in real as it shows in film or digital. So for me in this case I would try to avoid or lower its intensity at location or in post, what ever is handy to me.
See this example, first the untouched image then the final. That blue was never like that for real, so it has to be solved.




I don't disagree with anything you said in this quote. In your example, the real daylight was probably a bit cool looking to the naked eye (if not as cool as the "before" example), but that would not be the best look for this photo, so you went with something that was not what the naked eye saw, to make a better photo. With other subjects and combinations of colors, it might be a different story, in my opinion, and of course the client's desires matter too.

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Dick Roadnight

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Re: Recent Professional Works
« Reply #3801 on: October 06, 2012, 04:28:09 AM »

Well two different questions. First as you all know, what you see in location is not what the camera sees, so the quotation that t is natural" doesn't really is. When you see a slight tint of blue in real live it translate into a deep blue as you are balancing for tungsten. So it is never natural.
In my case if I can deal with it in camera at location, is faster and easier. If I can not then I'd do it in post.

Some clients allow for more natural reflections and mix lighting, others just don't allow for it. Some clients like little retouching, others ask for a lot.

The problem with mix lighting is that, as I said before was not that intense in real as it shows in film or digital. So for me in this case I would try to avoid or lower its intensity at location or in post, what ever is handy to me.
See this example, first the untouched image then the final. That blue was never like that for real, so it has to be solved.



...and back to my original comment on Scott's picture: does anyone "do it professionally" by taking different shots for different light sources (e.g. daylight, tungsten and fluorescent) so that each light source can be independently light-balanced before merging the shots? This, of course, give you a very wide range of options to satisfy a clients requirements.

Did any of you do separate exposures for each (filtered or gelled) light source on one sheet of film?
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Scott Hargis

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Re: Recent Professional Works
« Reply #3802 on: October 06, 2012, 11:06:52 AM »

Dick, I can tell you that lots of people work that way.
As I said on a different forum recently, in my opinion, what combination of techniques you use doesn't matter. The point is to be in charge of a managed process, not just throwing shit at the wall and hoping that what sticks looks good. Pre-visualize the shot, and then go through whatever steps you need/want to get there. If the end result matches what was in your head....then you're doing it right.

semillerimages

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Re: Recent Professional Works
« Reply #3803 on: October 06, 2012, 01:52:28 PM »

Mr. Ezra,
Please forgive my formality :)
Your images are absolutely stunning, some of the most impressive nudes I've seen that are all about form yet have that slight hint of eroticism.
What do you do with these images? Gallery? Personal work? Sell to the model?
This new set probably is the most impressive that I've seen by the way, as I lurk away on here :)
Congratulations on a perfection of your style!

*steve
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MichaelEzra

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Re: Recent Professional Works
« Reply #3804 on: October 06, 2012, 02:25:20 PM »

Thank you, Steve. I guess this would get categorized as personal work, I don't get to do much with images besides making them. some time ago I was selling prints on eBay, will probably try to revive that. I had a few attempts to work with galleries a few years ago, but that was not fruitful.  The largest exhibit I had "recently" was in 2009 in Moscow on FotoForum with 29 prints, that went very well. You can also view it on my site under Exhibits/Concept of Form. Having a day job unrelated to photography leaves little time for it, especially in the last few years. I still have many untouched negatives going back to year 2000; hopefully, some day will go through. If time permits, I plan to consolidate various projects into a book and also write an instructional book on Sculptural Photography on the basis of masterclass given on the same FotoForum-2009.
There are more levitation works that are still in the RAW, was actually hoping to process a few this weekend:)

semillerimages

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Re: Recent Professional Works
« Reply #3805 on: October 06, 2012, 02:31:42 PM »

I love to buy that book :)
Thanks for the rapid reply!
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Rob C

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Re: Recent Professional Works
« Reply #3806 on: October 06, 2012, 02:44:33 PM »

Move away from that monitor and you'll find real workspaces, real homes, real cars and thankfully real women in a Real World.




Keith, you're messing with my head again: I tried clicking on Real World looking for those real women, and nothing happened... just like in Real Life.

;-)

Rob C

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Re: Recent Professional Works
« Reply #3807 on: October 06, 2012, 02:58:57 PM »

They're out there, Rob, in the real world, just don't expect them to respond to clicks ;-)


Yet to try clicks, but they long stopped responding to the snapping of fingers - or even of suspender belts. But they don't wear them anymore, I believe... so much gets lost with progress!

;-)

Rob C

bcooter

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Re: Recent Professional Works
« Reply #3808 on: October 06, 2012, 03:04:03 PM »

The character, light and post, all look very coherent.


Thank you Michael, but as you know this is the reality of an open forum is we all live in a glass house so some people will love what we show, some not.  

Some of it's constructive and I like that, but all is personal opinion and that's fine also.

Anyway

The real story of this image



is commercial work and commercial work brings with it a different set of discipline especially today with a major eye on expenses.

If this image (which is one of many) was shot completely on location,  the cost of permitting, securing parking, adding RV's,  police, grip trucks, catering, running cable, generators, would have impacted this portion of the shoot by a lot.

Then you have the issues of crowd control, wind, overtime because it's evening, etc. etc.  Also this project has a video component so the cost exponentially goes up with video due the motion requirements and added crew.  

Do this on 4 locations and the numbers add up. 

I know because two years ago using some of the same or close to areas in san francisco we were into those prices and honestly the imagery is not any more "real" looking or compelling because commercial work comes with it a lot of selection by committee, changes, swapping out subjects, expressions, etc.  In other words a lot of post production.

When it came time to create the main subject for the image referenced, in discussion with the creative group/client  we could either light and place the subject in studio to look organic,with more realistic lighting, or shoot it as if we added key light for a more stylistic approach.  It was decided by all to use a more stylistic approach.

Consequently, these two images were shot on location with some minor to major supplemental lighting to look organic and regardless of what we did they still require a great deal of post production, because . . . that's the standard of the industry today.



When I look at Michael's lovely nudes the technician in me sees post work and physical construction, though the artist just sees pretty images. (which is the way it should be).

I don't shoot a  great deal of nudes to compare it with, but this image



Was shot "organic" and has virtually no retouching.  Even the lighting is from practicals moved into position.

Do I think it's better or worse than other imagery . . . NO, I just think it is what it is.

IMO

BC
« Last Edit: October 06, 2012, 07:17:07 PM by bcooter »
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TMARK

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Re: Recent Professional Works
« Reply #3809 on: October 06, 2012, 11:14:25 PM »




Was shot "organic" and has virtually no retouching.  Even the lighting is from practicals moved into position.



My wife looked just like that until, you know, we had kids.  Seriously, freaked me out for a second.  I was like "She never told me about this."

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HarperPhotos

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Re: Recent Professional Works
« Reply #3810 on: October 08, 2012, 03:41:40 PM »

Hello,

Shoot with a Mamiya RZ body, Leaf Aptus 75 back and 180mm SB lens with tilt/shift adaptor.

Question is. But is it art?

Just kidding.

Cheers

Simon
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Simon Harper
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ACH DIGITAL

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Re: Recent Professional Works
« Reply #3811 on: October 09, 2012, 09:54:43 AM »

Hello,

Shoot with a Mamiya RZ body, Leaf Aptus 75 back and 180mm SB lens with tilt/shift adaptor.

Question is. But is it art?

Just kidding.

Cheers

Simon

Hello Simon, nice work. There was a time when a "Tabasco" commercial image was print in poster size for decorative use. That could be.
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Kirk Gittings

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Re: Recent Professional Works
« Reply #3812 on: October 18, 2012, 11:26:07 AM »

in my opinion, what combination of techniques you use doesn't matter. The point is to be in charge of a managed process, not just throwing shit at the wall and hoping that what sticks looks good. Pre-visualize the shot, and then go through whatever steps you need/want to get there. If the end result matches what was in your head....then you're doing it right.



Bang on.....
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TMARK

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Re: Recent Professional Works
« Reply #3813 on: October 18, 2012, 11:39:48 AM »

Peoples, I've never felt entirely comfortable posting non-commissioned work here. I'm wondering if there's a consensus that this thread should be reserved for commissioned commercial work only? Anyone have strong opinion either way?

Spec work is fine, or uncommissioned editorials, or promo pieces, but I'm never averse to seeing good images, no matter its reason for being.  I just don't want to see Canon cat pics.
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Dick Roadnight

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Re: Recent Professional Works
« Reply #3814 on: October 18, 2012, 12:52:29 PM »

does anyone "do it professionally" by taking different shots for different light sources (e.g. daylight, tungsten and fluorescent) so that each light source can be independently light-balanced before merging the shots? This, of course, gives you a very wide range of options to satisfy a clients requirements.

Dick, I can tell you that lots of people work that way.
As I said on a different forum recently, in my opinion, what combination of techniques you use doesn't matter. The point is to be in charge of a managed process, not just throwing shit at the wall and hoping that what sticks looks good. Pre-visualize the shot, and then go through whatever steps you need/want to get there. If the end result matches what was in your head....then you're doing it right.
Yes, Scott, but one problem with working as a professional is (I think) that you may not know how the customer pre-visualises the shot - so it is good to have options for post-processing... e.g. to fill deep shadows by merging in another shot.
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Abdulrahman Aljabri

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Re: Recent Professional Works
« Reply #3815 on: October 19, 2012, 07:14:13 AM »

@Scott - very clean lighting, great job! Have you tried using Oloneo HRD relight (http://www.oloneo.com/en/page/products/photoengine/hdr-relight.html)? It allows to create a lighting composite based on individual frames, each shot using a separate light source.

Thanks for sharing this. I think you are referring to the feature described in this video http://www.youtube.com/watch?feature=player_embedded&v=8AbUPG_SLYk#!

It looks like a very useful tool in some controlled environments, but do you find Oloneo capable of blending several exposures to construct interior pictures such as hotel rooms with window light? I tired photomatix and got mixed results. The software doesn't give independent control over how much detail and exposure is introduced in highlights and shadows. I end up with gray bed covers instead of white etc. Thus I resort to manual blending using masks. Great control but time consuming.   

Thanks
Abdulrahman
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michele

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Re: Recent Professional Works
« Reply #3816 on: October 19, 2012, 10:12:09 AM »

Beautiful images here! Many compliemnts to all!
Here is my contribution, it's an image made for a wine box.

ctz

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Re: Recent Professional Works
« Reply #3817 on: October 19, 2012, 10:50:11 AM »

like it!
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TMARK

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Re: Recent Professional Works
« Reply #3818 on: October 19, 2012, 11:12:19 AM »

Beautiful images here! Many compliemnts to all!
Here is my contribution, it's an image made for a wine box.

Nice.  In the tradition of "Sporting" paintings from the UK.
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Kirk Gittings

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Re: Recent Professional Works
« Reply #3819 on: October 19, 2012, 11:58:42 AM »

Thanks for sharing this. I think you are referring to the feature described in this video http://www.youtube.com/watch?feature=player_embedded&v=8AbUPG_SLYk#!

It looks like a very useful tool in some controlled environments, but do you find Oloneo capable of blending several exposures to construct interior pictures such as hotel rooms with window light? I tired photomatix and got mixed results. The software doesn't give independent control over how much detail and exposure is introduced in highlights and shadows. I end up with gray bed covers instead of white etc. Thus I resort to manual blending using masks. Great control but time consuming.   

Thanks
Abdulrahman

I've had better success using LR/Enfuse and SNS HDR Pro, and then blending in parts of the original best exposure to the exposure blended HDR image.
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