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Author Topic: Re: Recent Professional Works 2  (Read 1205510 times)

Craig Lamson

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Re: Recent Professional Works 2
« Reply #440 on: June 05, 2013, 09:29:31 am »

A project I am currently shooting in NM for a lighting designer in NY.

I like it but man would that look hot with an orange sky :)


On a side note:  LEDS have really changed lighting...
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #441 on: June 05, 2013, 10:43:16 am »

I like it but man would that look hot with an orange sky :)


On a side note:  LEDS have really changed lighting...


Thanks. It would be a strong image that way for sure, but I'm not sure I would prefer it over the blue. My clients, including Tillett Lighting Design in Brooklynm an architecture professor at UNM and the city, went bonkers over this. To me the blue associates the pedestrian bridge with the sky which makes it more ethereal. Besides I live in New Mexico and I get weary of flaming sunsets :). Here is another. You may wonder why I left the sign in. If this image was for me I would take it out, but this bridge is in a really unromantic part of town-there is a strip club next to one end and warehouses on the other. The clients want to emphasize this project as a jewel in an otherwise unremarkable urban setting and show elegant infrastructure can transform an area.
« Last Edit: June 05, 2013, 11:11:06 am by Kirk Gittings »
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niteart

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Re: Recent Professional Works 2
« Reply #442 on: June 05, 2013, 11:14:13 am »

These look amazing even as a small web sized image. I can only imagine how great they look in print.

From my Patagonia shoot.
My client feedback is pretty clear, they love the waterfall.
Out of 3500 shots, I will publish 5-10 all developed to Fuji crystal archive paper and face mounted to acrylic
5-10 pieces on a ten day shoot is pretty productive for me.

Florence Welsh (waterfall on the Fitz Roy)
Pentax 645D 35mm AF stacked GND filters,CPF

Guardians
Pentax 645D 35mm AF CPF

Small things, suite of Four
Pentax 645D 35mm CPL

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32BT

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Re: Recent Professional Works 2
« Reply #443 on: June 05, 2013, 11:24:13 am »

You may wonder why I left the sign in. If this image was for me I would take it out,

I think that sign makes a brilliant addition. Almost makes this a prime candidate for the street-photography genre. Not so sure about that fence-pole or whatever it is. And the blueish lensflare(?) is rather immediately distracting. But great image nonetheless...
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #444 on: June 05, 2013, 11:27:09 am »

I think that sign makes a brilliant addition. Almost makes this a prime candidate for the street-photography genre. Not so sure about that fence-pole or whatever it is. And the blueish lensflare(?) is rather immediately distracting. But great image nonetheless...

Thanks. I haven't turned this over to the client yet and am still thinking about the pole and the little one too, but I don't know what blue flare you are referring to? I just went back and looked closely over that image and see no flare. Are you talking about the light cloud edge at the top left of center? On close inspection it does not appear to be flare.
« Last Edit: June 05, 2013, 11:33:38 am by Kirk Gittings »
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32BT

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Re: Recent Professional Works 2
« Reply #445 on: June 05, 2013, 11:40:47 am »

Thanks. I haven't turned this over to the client yet and am still thinking about the pole and the little one too, but I don't know what blue flare you are referring to? I just went back and looked closely over that image and see no flare. Are you talking about the light cloud edge at the top left of center? On close inspection it does not appear to be flare.

I may have misjudged it, could well be the reflection of the blue light on the ground. Sort of looks like something reflecting in glass forming a blueish haze.
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Craig Lamson

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Re: Recent Professional Works 2
« Reply #446 on: June 05, 2013, 12:21:36 pm »

Thanks. It would be a strong image that way for sure, but I'm not sure I would prefer it over the blue. My clients, including Tillett Lighting Design in Brooklynm an architecture professor at UNM and the city, went bonkers over this. To me the blue associates the pedestrian bridge with the sky which makes it more ethereal. Besides I live in New Mexico and I get weary of flaming sunsets :). Here is another. You may wonder why I left the sign in. If this image was for me I would take it out, but this bridge is in a really unromantic part of town-there is a strip club next to one end and warehouses on the other. The clients want to emphasize this project as a jewel in an otherwise unremarkable urban setting and show elegant infrastructure can transform an area.

Don't get me wrong Kirk, I like the image.

The second one strikes my fancy more than the first.

But great work as always and what a cool project!
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haefnerphoto

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Re: Recent Professional Works 2
« Reply #447 on: June 05, 2013, 09:22:35 pm »

Thanks. It would be a strong image that way for sure, but I'm not sure I would prefer it over the blue. My clients, including Tillett Lighting Design in Brooklynm an architecture professor at UNM and the city, went bonkers over this. To me the blue associates the pedestrian bridge with the sky which makes it more ethereal. Besides I live in New Mexico and I get weary of flaming sunsets :). Here is another. You may wonder why I left the sign in. If this image was for me I would take it out, but this bridge is in a really unromantic part of town-there is a strip club next to one end and warehouses on the other. The clients want to emphasize this project as a jewel in an otherwise unremarkable urban setting and show elegant infrastructure can transform an area.

Kirk, This shot tells the story better for me.  Great composition and color, sorry to hear the sunsets are getting boring!  I'll trade with you!!  Jim
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Chris Barrett

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Re: Recent Professional Works 2
« Reply #448 on: June 05, 2013, 10:19:37 pm »

Thanks. It would be a strong image that way for sure, but I'm not sure I would prefer it over the blue. My clients, including Tillett Lighting Design in Brooklynm an architecture professor at UNM and the city, went bonkers over this. To me the blue associates the pedestrian bridge with the sky which makes it more ethereal. Besides I live in New Mexico and I get weary of flaming sunsets :). Here is another. You may wonder why I left the sign in. If this image was for me I would take it out, but this bridge is in a really unromantic part of town-there is a strip club next to one end and warehouses on the other. The clients want to emphasize this project as a jewel in an otherwise unremarkable urban setting and show elegant infrastructure can transform an area.

That's frackin awesome. I hate the sign. It doesn't speak to the roughness of the area, it's just an ugly traffic sign, a blight upon your gorgeous shot.

JohnBrew

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Re: Recent Professional Works 2
« Reply #449 on: June 06, 2013, 06:48:23 am »

Kirk, really nice shot. Personally I'd PS the sign.

32BT

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Re: Recent Professional Works 2
« Reply #450 on: June 06, 2013, 08:29:26 am »

Why would one want to remove that sign? Occupational deformation?
It perfectly depicts that bit of human confusion that one should always strive for in any photographic endeavor.

It complements the grandeur of the architectural object that even so lets you move in one tangential direction only. Equally so for how a highway is designed. Ah, but not so the sky! A beautiful representation of nature with an ever so slight movement visible. Do people not see this? Or do they simply not care?

The sign is not an element, it is a statement. It is not a distraction that needs removal, it attracts our attention to a broader message: that movement designed by humans is oddly restrictive versus the freedom of movement in nature depicted by the sky so brilliantly.

I would be tempted to adjust the image to somehow draw more attention to the sign, and then vehemently defend its existence as a very relevant element to any client who might want to remove it. Fortunately they don't.
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #451 on: June 06, 2013, 09:54:38 am »

Why would one want to remove that sign? Occupational deformation?
It perfectly depicts that bit of human confusion that one should always strive for in any photographic endeavor.

It complements the grandeur of the architectural object that even so lets you move in one tangential direction only. Equally so for how a highway is designed. Ah, but not so the sky! A beautiful representation of nature with an ever so slight movement visible. Do people not see this? Or do they simply not care?

The sign is not an element, it is a statement. It is not a distraction that needs removal, it attracts our attention to a broader message: that movement designed by humans is oddly restrictive versus the freedom of movement in nature depicted by the sky so brilliantly.

I would be tempted to adjust the image to somehow draw more attention to the sign, and then vehemently defend its existence as a very relevant element to any client who might want to remove it. Fortunately they don't.

Because in my opinion, ANYTHING that pulls your attention away from the architecture I try and remove. My job with my commercial AP is to illustrate and drive attention to the architecture-period. It is an old school ideology for AP (no offense Iwan Baan) but it is my long held ideology.
« Last Edit: June 06, 2013, 09:56:50 am by Kirk Gittings »
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #452 on: June 06, 2013, 09:57:26 am »

That's frackin awesome. I hate the sign. It doesn't speak to the roughness of the area, it's just an ugly traffic sign, a blight upon your gorgeous shot.

Thanks Chris.
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Kirk Gittings

Kirk Gittings

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Re: Recent Professional Works 2
« Reply #453 on: June 06, 2013, 09:59:41 am »

Kirk, This shot tells the story better for me.  Great composition and color, sorry to hear the sunsets are getting boring!  I'll trade with you!!  Jim

Thanks Jim. I am rather fond of Detroit too, but wouldn't want to have to live there and try and make a living. You have really made the most of it.
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32BT

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Re: Recent Professional Works 2
« Reply #454 on: June 06, 2013, 10:18:35 am »

Because in my opinion, ANYTHING that pulls your attention away from the architecture I try and remove. My job with my commercial AP is to illustrate and drive attention to the architecture-period. It is an old school ideology for AP (no offense Iwan Baan) but it is my long held ideology.

Sure, but that is what I meant by occupational deformation (in a non-derogatory way mind you). I can fully appreciate that an architectural assignment requires stringent filtering of distractions, but in this case it would equally remove a very interesting conjunction and statement.

For the sake of argument though, if distractions are to be removed, then what to make of the saturated colors? Because frankly, the image primarily lives on the foundations of a "pleasing palette", not particularly on the basis of an impressive piece of architecture...
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #455 on: June 06, 2013, 11:05:24 pm »

Light, whether sunlight or artificial  is essential to every architectural design. There is no separating them.

This local project, however humble, attracted a very talented NY design firm-it wasn't for the money. I know the budget on the project. It was to see what they could do with it-pushing the boundaries of local taste and the budget. I take every assignment my clients give me as an "impressive piece of architecture" and give it 110%.  I don't care if its a starchitect clients or a one person shop in his bedroom. I'm not there to judge. I'm there to make the project soar. Nor when I'm shooting for the architect (editorial AP is different) am I there to document-I'm there to fullfill his/her imagination.
« Last Edit: June 06, 2013, 11:22:22 pm by Kirk Gittings »
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Kirk Gittings

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Re: Recent Professional Works 2
« Reply #456 on: June 06, 2013, 11:08:10 pm »

Hi Kirk,

is there a version with the strip club in the image ;-)

Don't be shy. Eugène Atget did it: http://images.zeno.org/Fotografien/I/500-635/PHO00563.jpg

Best,
Johannes


I've tried I just can't make it work visually :)
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Slobodan Blagojevic

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Re: Re: Recent Professional Works 2
« Reply #457 on: June 06, 2013, 11:10:53 pm »

... Because frankly, the image primarily lives on the foundations of a "pleasing palette", not particularly on the basis of an impressive piece of architecture...

I think there is another possibility: it becomes an "impressive piece of architecture" at night, precisely because of  the "pleasing palette" of its lighting?

leeonmaui

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Re: Recent Professional Works 2
« Reply #458 on: June 07, 2013, 02:27:23 am »

Thanks,

The proofing sized prints look good, I corrected a few things and will get display size pieces mounted to acrylic back from my lab
next week, I got lots of good shots, can't wait to see them blown up on fuji flex and mounted. I only had the proofs to go by but have sold 8 pieces in two weeks! so I'm well on my way to paying for the trip! so far it's been the waterfall piece (both a vertical and a horizontal version are available.) Also the grass, go figure, but it's a fun little piece. I'll release five images to start. 

Here's a couple more.

Patagonia=photographers heaven! 
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32BT

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Re: Recent Professional Works 2
« Reply #459 on: June 07, 2013, 04:20:29 am »

Light, whether sunlight or artificial  is essential to every architectural design. There is no separating them.


-I'm there to fullfill his/her imagination.


And a brilliant job you did here. The orange glow of the highway complements the blue of the architectural object which is faintly replicated in a dramatic sky. Well done, well seen, well captured, and well processed.

I doubt that I will ever perceive the colors IRL as they are represented here, but that doesn't make the picture any less competent, and I suppose it is a bit like selling soap: artificially clean surfaces sell better. In that respect I agree that removing the sign, poles, and other distractions is better.

But I still maintain that the sign makes a brilliant statement. It would be a bit like this: looking at the picture I see a beautiful and clean, strongly colored scene, and the sign seems a bit out of character. So I am forced to wonder why the artist has left it in. I then "read" the sign, which says "no left turn" and "one way only" and realise that that is exactly what the elements in the picture represent.

The elements represent singular directions, with a single destination, much like what human society (represented by the urban setting) imposes upon our daily lives. Then the sky shows natural forms with slight movement in a direction of its own choosing, which alludes to our inner nature of freedom and creativity that every person possesses.

Yes, indeed, I do write a crack'n artist's statement, no?
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