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Author Topic: Re: Recent Professional Works 2  (Read 754314 times)

ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #260 on: April 15, 2013, 05:20:20 PM »

Thanks Johannes of course I know AA.

These are some 6x9 film scans from old work. Different Series though.









ACH
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #261 on: April 18, 2013, 04:37:30 PM »

Got my copy of New Mexico Magazine in the mail today so it is official. I have two covers on the stands at the same time-been a few years since that happened last.

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Ed Foster, Jr.

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Re: Recent Professional Works 2
« Reply #262 on: April 18, 2013, 05:06:31 PM »

Que bueno! Very well done, Antonio, especially the hibiscus flower. The shell series you posted earlier is outstanding.

Ed
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Paul Ozzello

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Re: Recent Professional Works 2
« Reply #263 on: April 18, 2013, 05:13:48 PM »

Got my copy of New Mexico Magazine in the mail today so it is official. I have two covers on the stands at the same time-been a few years since that happened last.



Nice !

ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #264 on: April 18, 2013, 05:33:31 PM »

Kirk, I like Su Casa shot very much. Can you post it bigger and comment about the making?

Great job.

ACH
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Scott Hargis

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Re: Recent Professional Works 2
« Reply #265 on: April 18, 2013, 06:41:42 PM »

The Su Casa image is terrific.

ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #266 on: April 18, 2013, 07:26:46 PM »

Que bueno! Very well done, Antonio, especially the hibiscus flower. The shell series you posted earlier is outstanding.

Ed
Thanks Ed..

ACH
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #267 on: April 19, 2013, 01:42:24 PM »

Thanks guys. The SC image is my favorite too-the NMM image I didn't even originally turn over to them-it was in my "almost but no cigar" category. But they know me and know I hold images back. There were three other images that from my POV were stronger images, BUT perhaps not better covers by their criteria with places for subtitles, elements that lead your eye into the picture etc.

Having two covers out there is powerful PR-12 years since I last did that last. New Mexico Magazine is a much larger magazine with significant more circulation & better fees. That was an idea I came up with and submitted with a writer friend. It gets to virtually everyone I know and work with. It is remendous PR-my 11th or 12th cover with them since like 1986. The SC article was an assignment (with the same writer) from the magazine and hits my bread and butter clientele-architects. It is also great pr-the best regional advertising I do for my commercial work.

The SC image was the last shot of the day (almost too dark) we were running to catch the last light-shot with a bit of halogin fill in the interior and exterior. Pretty straight forward really. The biggest accomplishment was just getting it before the sky light died-I don't shoot exteriors once the sky is pitch black-to harsh.
« Last Edit: April 19, 2013, 01:52:16 PM by Kirk Gittings »
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Kirk

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Scott Hargis

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Re: Recent Professional Works 2
« Reply #268 on: April 19, 2013, 02:48:29 PM »

The SC image was the last shot of the day (almost too dark) we were running to catch the last light-shot with a bit of halogin fill in the interior and exterior. Pretty straight forward really. The biggest accomplishment was just getting it before the sky light died-I don't shoot exteriors once the sky is pitch black-to harsh.

I think most of the "twilight" exteriors I see are shot about 20 minutes too late, and they end up being reverse silhouettes of windows. Dawn twi's are even harder to time properly.

ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #269 on: April 19, 2013, 02:55:11 PM »

Kirk, Scott,

It's not an easy task. You make sure everything is set in advance and when the time comes there is something to change or the client wants a variant. That's when it gets too dark..

But this SC looks pretty neat. I guess you lighten up somehow in Photoshop.

ACH
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #270 on: April 19, 2013, 03:24:32 PM »

I think most of the "twilight" exteriors I see are shot about 20 minutes too late, and they end up being reverse silhouettes of windows. Dawn twi's are even harder to time properly.

Agreed. Given the time we set up early and wait for the perfect balance-a little earlier than this but we were doing another twilight at that time looking the same direction but on the opposite side of the house.

Yes I lightened it up a bit. ACH
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Kirk

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HarperPhotos

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Re: Recent Professional Works 2
« Reply #271 on: April 19, 2013, 11:56:45 PM »

Hello,

Some shots for Honda.

Cheers

Simon
« Last Edit: April 20, 2013, 12:15:11 AM by HarperPhotos »
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Simon Harper
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haefnerphoto

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Re: Recent Professional Works 2
« Reply #272 on: April 20, 2013, 09:16:36 AM »

Nice job Simon!  I like the use of the direct light.  Jim

MrSmith

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Re: Recent Professional Works 2
« Reply #273 on: April 20, 2013, 09:28:08 AM »

nice to see a bonnet (hood for new world english speakers) without the edge of a floating ceiling or the return of the cove diagonally across it which is just lazy lighting, it's domed too so will be seeing a big area.

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haefnerphoto

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Re: Recent Professional Works 2
« Reply #274 on: April 20, 2013, 05:16:12 PM »

nice to see a bonnet (hood for new world english speakers) without the edge of a floating ceiling or the return of the cove diagonally across it which is just lazy lighting, it's domed too so will be seeing a big area.



I agree, as I recall Simon works in what we call in the US, an eggshell cove.  That's a space where the cyc's radius is not only at the floor but at the ceiling too, with the ceiling structure covered with drywall.  I've built both styles (the other an open ceiling with moveable flying flats) and prefer the flying flat approach, it allows us to be more precise with the light.  There are tradeoffs with both approaches though and just a matter of preference.  The attached shot, taken for Cadillac, is a similar angle taken recently.  Jim

HarperPhotos

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Re: Recent Professional Works 2
« Reply #275 on: April 20, 2013, 06:21:35 PM »

Hello,

Jim thanks for your kind words.

I was pleased that the art director went with my idea of combining directional and non directional lighting on the job. The directional lighting just made the metallic paint just popped.

I am trilling a you wide angle lens attachment with individual rotating barn doors from Dedo this coming week which will be great on cars.

I also will be tiring my new home made 5 meter long strip light on a up coming shoot for Range Rover.

Cheers

Simon
« Last Edit: April 27, 2013, 01:30:04 AM by HarperPhotos »
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Simon Harper
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MrSmith

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Re: Recent Professional Works 2
« Reply #276 on: April 20, 2013, 06:27:38 PM »

As long as its grey not white :-) as you know it's a whole lot easier to keep contrast than when it's white.
Just as I was in a position to start shooting tests of cars CGI and a recession hit so I took the decision not to go down that route even though I was lighting cars for other photographers.
I learnt a hell of a lot about light in a very short time and I still think that if you can light a car and get your head round all those issues of a shiny thing in a white room you can light just about anything, the ability to look at a surface and instinctively know what part of the studio it's 'seeing' and how the light is going to play on it (and what other parts of the car it affects and looks wrong)
I don't think non-car photographers really have any idea what goes into good car lighting and would be shocked at how long it takes even if you work quickly.

Keep those car shots coming.
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HarperPhotos

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Re: Recent Professional Works 2
« Reply #277 on: April 20, 2013, 06:56:50 PM »

Hi Mr Smith,

There's an old photography saying “What the easiest way to shoot a car? Give it to someone else”

Unfortunately due to the fact that I only have the one studio and have to use it for all the other types of work I do it has to white.

I haven’t found it to be a problem and when I exposed the car the studio walls look grey.

The Toyota shot is straight out of camera

Cheers

Simon
« Last Edit: April 21, 2013, 02:05:18 AM by HarperPhotos »
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Simon Harper
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haefnerphoto

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Re: Recent Professional Works 2
« Reply #278 on: April 20, 2013, 07:23:09 PM »

I recently tried a few different shades of floor paint, white, gray and black.  It had been so long since I'd painted my studio black (existing paint was from 2008) that when I ordered more I found that the company had gone out of business.  Anyways, either white or gray works well, gray if you want a bit more contrast (just the floor), if you were to paint the whole stage gray it's no different than exposing longer with a white stage (if you're in an eggshell cove).  Using flying flats is what allows me to light with any contrast range I'd like and with the advantage of PS voodoo the car will look great almost regardless of lighting method.  My website's Advertising>Recent Work has more of the Cadillac images and other shots taken in the studio (although some placed in location backgrounds).  Attached are a couple views of my studio illustrating flying flats and strip lights.  Jim

Craig Lamson

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Re: Recent Professional Works 2
« Reply #279 on: April 20, 2013, 07:56:27 PM »

I recently tried a few different shades of floor paint, white, gray and black.  It had been so long since I'd painted my studio black (existing paint was from 2008) that when I ordered more I found that the company had gone out of business.  Anyways, either white or gray works well, gray if you want a bit more contrast (just the floor), if you were to paint the whole stage gray it's no different than exposing longer with a white stage (if you're in an eggshell cove).  Using flying flats is what allows me to light with any contrast range I'd like and with the advantage of PS voodoo the car will look great almost regardless of lighting method.  My website's Advertising>Recent Work has more of the Cadillac images and other shots taken in the studio (although some placed in location backgrounds).  Attached are a couple views of my studio illustrating flying flats and strip lights.  Jim

Back when I was working at Starcraft and shooting bunches of conversion vans and trucks I found I liked a gray cyc...floor and ceiling as well as rolling and overhead flats.  I always though it was muhc easier to get gradations on Gray then White and easier to hide the edges of the flats and wall in the reflections.

This was back in the large format/tranny film days and at the very beginning of electronic retouching...meaning out of our budget range.  I almost always used a small hard light kicker on both sides of the vehicle.  Everything had full body graphics of some sort and the hard light made them pop.  I won't talk about masking off the graphics and dull spraying each of them sometimes :)
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