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Author Topic: Recent Professional Works  (Read 1238879 times)

Scott Hargis

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Re: Recent Professional Works
« Reply #4160 on: January 10, 2013, 01:10:28 PM »

You basically setup all your lights before sunset? It's very difficult to setup lights for a night scene when working in daylight, because you can't exactly see what the lights are doing. Plus when the perfect sunset moment comes I find my self scrambling to adjust lights before missing out the sky view.  One thing I thought about to counter this problem is to 1. setup the camera and prepare the space in advance 2. capture the perfect window view  3. adjust the lights without worrying about the time 4. add the window view in post.

80% of the lighting is in place before the sun hits the horizon. I try to have a pretty detailed vision in my mind for how the shot should look, so it's not too hard to figure out light placements. Wattage is another matter; that's what's being tweaked as the ambient light starts dropping.

Rob C

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Re: Recent Professional Works
« Reply #4161 on: January 11, 2013, 11:34:16 AM »

Kodachrome 64 Pro converted to b/white.

Client: Hewden/Stuart Group plc.

Rob C
« Last Edit: January 23, 2013, 02:40:25 PM by Rob C »
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JoeKitchen

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Re: Recent Professional Works
« Reply #4162 on: January 12, 2013, 05:53:43 PM »

Shot this a couple of days ago.  ISO 100, 30s at f/11 with a linear polarizer.  Use a good deal f additional lights, but turned them off at different times throughout the exposure.  I did a general raw processing for the entire image, then did a raw processing customized for the stage and dropped it in. 
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Joe Kitchen
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haefnerphoto

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Re: Recent Professional Works
« Reply #4163 on: January 12, 2013, 09:52:18 PM »

Kodachrome 64 Pro converted to b/white.

Client: Hewden/Stuart Group plc.

Rob C

Love it!!

SecondFocus

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Re: Recent Professional Works
« Reply #4164 on: January 12, 2013, 10:43:40 PM »

This really is superb!

Kodachrome 64 Pro converted to b/white.

Client: Hewden/Stuart Group plc.

Rob C
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Ian L. Sitren
SecondFocus

Kirk Gittings

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Re: Recent Professional Works
« Reply #4165 on: January 12, 2013, 10:59:06 PM »

Amazing the feedback a couple of perky nipples will get :)
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Kirk

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SecondFocus

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Re: Recent Professional Works
« Reply #4166 on: January 12, 2013, 11:10:09 PM »

Actually I am just in awe of the tonality of the black and white conversion from Kodachrome. It is just beautiful!

And it is exactly my kind of subject matter :)

Amazing the feedback a couple of perky nipples will get :)

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Eric Myrvaagnes

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Re: Recent Professional Works
« Reply #4167 on: January 12, 2013, 11:35:17 PM »

Amazing the feedback a couple of perky nipples will get :)

Makes one wonder why architects doon't put a couple on every building.  ;D
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Kirk Gittings

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Re: Recent Professional Works
« Reply #4168 on: January 12, 2013, 11:54:07 PM »

Makes one wonder why architects doon't put a couple on every building.  ;D


:)
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Kirk

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Rob C

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Re: Recent Professional Works
« Reply #4169 on: January 13, 2013, 05:27:22 AM »

Makes one wonder why architects doon't put a couple on every building.  ;D




Look at the Carlton in Cannes and the Negresco in Nice.

;-)

Rob C

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Re: Recent Professional Works
« Reply #4170 on: January 13, 2013, 05:35:30 AM »

Thanks, haef 'n' Second; praise indeed from you guys!

Yes, I've often thought that in the right light, Kodachrome was preferrable to any b/w film for the look that I currently like in b/w prints. Partly, I think it's down to the exposure methodology used: incident light readings based on retaining important highlights. The problem I face converting from Kodachrome is scanning: I'm not very clever with that, and have a simple CanoScan which I'm sure I don't use to its best advantage, as it is.

Oh well, it was all fun whilst it lasted!

Thanks again,

Rob C
« Last Edit: January 13, 2013, 05:37:57 AM by Rob C »
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KLaban

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Re: Recent Professional Works
« Reply #4171 on: January 13, 2013, 08:38:47 AM »

Rob, it certainly is a lovely conversion.
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Rob C

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Re: Recent Professional Works
« Reply #4172 on: January 13, 2013, 10:07:36 AM »

Thank you, Keith; it owes a lot to the model, Denise Denny.

Unusual sort of beauty, and amazing actual sex-appeal. We were staying in a small Nassau hotel (Pilot House) near the Paradise Island Bridge, and I remember one evening when she, the other girl (probably more pretty) and my wife and I walked into the bar. I can tell you (though I didn't really notice at the time) that my wife later informed me that every eye in that place was instantly drawn to Denise.

The things women can notice in an instant.

Rob C

ChristopherBarrett

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Re: Recent Professional Works
« Reply #4173 on: January 13, 2013, 05:16:21 PM »

You basically setup all your lights before sunset? It's very difficult to setup lights for a night scene when working in daylight, because you can't exactly see what the lights are doing. Plus when the perfect sunset moment comes I find my self scrambling to adjust lights before missing out the sky view.  One thing I thought about to counter this problem is to 1. setup the camera and prepare the space in advance 2. capture the perfect window view  3. adjust the lights without worrying about the time 4. add the window view in post.

Abdul, the best way to handle that is to cover all the windows with black while setting up the shot.  Then you can get the light level perfect.  In a traditional dusk view like this, you should be getting almost no ambient daylight when you finally expose.  We typically uncover the windows 30-40 minutes prior to dusk and spend that time hiding reflections.  When the window reaches the desirable brightness level you should be ready to go.

Cheers,
CB
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pixjohn

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Re: Recent Professional Works
« Reply #4174 on: January 13, 2013, 09:59:51 PM »

I just use experience shooting dusk. Years of lighting I can guesstimate what light, how much if any scrims  and when its time to shoot, just tweak the lights.
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Abdulrahman Aljabri

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Re: Recent Professional Works
« Reply #4175 on: January 14, 2013, 01:23:37 AM »

Abdul, the best way to handle that is to cover all the windows with black while setting up the shot.  Then you can get the light level perfect.  In a traditional dusk view like this, you should be getting almost no ambient daylight when you finally expose.  We typically uncover the windows 30-40 minutes prior to dusk and spend that time hiding reflections.  When the window reaches the desirable brightness level you should be ready to go.

Cheers,
CB

Thanks this is a great tip, is there any particular materiel you find best to use as a cover? I am thinking about trying your suggestion with the black plastic bags made for large garbage containers; cheap and light.

I just use experience shooting dusk. Years of lighting I can guesstimate what light, how much if any scrims  and when its time to shoot, just tweak the lights.

I can see this working in typical spaces like standard hotel bedrooms, but for challenging irregular spaces this will not work. 
« Last Edit: January 14, 2013, 01:26:34 AM by Abdulrahman Aljabri »
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Rob C

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Re: Recent Professional Works
« Reply #4176 on: January 14, 2013, 06:33:41 AM »

Thanks this is a great tip, is there any particular materiel you find best to use as a cover? I am thinking about trying your suggestion with the black plastic bags made for large garbage containers; cheap and light.
I can see this working in typical spaces like standard hotel bedrooms, but for challenging irregular spaces this will not work. 



Won't they pick up shine that might still be apparent when you make the exterior exposure? Plastic has highlights, black or not, if light hits it.

Rob C

Abdulrahman Aljabri

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Re: Recent Professional Works
« Reply #4177 on: January 14, 2013, 06:49:10 AM »



Won't they pick up shine that might still be apparent when you make the exterior exposure? Plastic has highlights, black or not, if light hits it.

Rob C

I am not sure, why would that be a problem? If they are being used just to block the light from the outside until it gets dark, would it make a difference if they show reflections?
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Rob C

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Re: Recent Professional Works
« Reply #4178 on: January 14, 2013, 09:50:53 AM »

I am not sure, why would that be a problem? If they are being used just to block the light from the outside until it gets dark, would it make a difference if they show reflections?


Maybe I'm stuck thinking transparency and in-camera double exposure. Guess digital manipulation is a ballgame that I seldom think much about beyond the straight picture.

Mea culpa.

Rob C

Kumar

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Re: Recent Professional Works
« Reply #4179 on: January 14, 2013, 10:21:24 AM »

Black plastic would cause problems, if there are other reflective objects that pick up those reflections. I've used this technique, and the easiest solution is to use black flocked paper sheets. They're easy to carry and use.

Kumar
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