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Author Topic: Re: Recent Professional Works 2  (Read 502188 times)

Kirk Gittings

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Re: Recent Professional Works 2
« Reply #280 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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HarperPhotos

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Re: Recent Professional Works 2
« Reply #281 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 #282 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 #283 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 #284 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 #285 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 #286 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 #287 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 #288 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 #289 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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wolfnowl

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Re: Recent Professional Works 2
« Reply #290 on: April 21, 2013, 01:53:31 AM »

Congrats, Kirk!!

Mike.
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Craig Lamson

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Re: Recent Professional Works 2
« Reply #291 on: April 21, 2013, 07:56:04 AM »

That caddy piece is nice Jim. You really created great shape.
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JoeKitchen

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Re: Recent Professional Works 2
« Reply #292 on: April 21, 2013, 12:09:55 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
Jim, are you using that second shot as a promo piece for yourself?  Looks like a very well planned out and set up image of your studio; too good for just a quick shot to us your space. 
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #293 on: April 21, 2013, 02:37:25 PM »

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haefnerphoto

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Re: Recent Professional Works 2
« Reply #294 on: April 21, 2013, 06:53:24 PM »

Jim, are you using that second shot as a promo piece for yourself?  Looks like a very well planned out and set up image of your studio; too good for just a quick shot to us your space. 

Joe, I use it on my contact page on my website.  Jim

JoeKitchen

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Re: Recent Professional Works 2
« Reply #295 on: April 22, 2013, 02:02:39 PM »

Shot this yesterday. 
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #296 on: April 25, 2013, 07:20:28 PM »

Poster by the BLM from my artist-in-residency at Canyon of the Ancients last year. Now if I could only find a live body somewhere in the system to get a copy:).




4x5 Fuji Across, green filter, Pyrocat HD
« Last Edit: April 25, 2013, 07:21:59 PM by Kirk Gittings »
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Rob C

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Re: Recent Professional Works 2
« Reply #297 on: April 26, 2013, 04:09:00 AM »

I realise this isn't a 'critique' section,  but that is one helluva good shot!

Hand of ancient Man, then?

Beautiful.

Rob C

Kirk Gittings

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Re: Recent Professional Works 2
« Reply #298 on: April 26, 2013, 01:46:22 PM »

Thanks Rob.
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bcooter

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Re: Recent Professional Works 2
« Reply #299 on: May 01, 2013, 03:46:57 AM »

p30+, Contax, 800 watt Broncolor HMI, 1/2 stop spun, bounced into white card.



Paris a couple years ago.  re imaged for advertising this week.

IMO

BC
« Last Edit: May 01, 2013, 03:56:17 AM by bcooter »
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