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Author Topic: Re: Recent Professional Works 2  (Read 531242 times)

Craig Lamson

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Re: Recent Professional Works 2
« Reply #820 on: October 11, 2013, 05:20:47 PM »

Simon, Way back when I used to use the Hosemaster on rv's and custom vans.  It was film back then so it was harder to combine images (digital retouching was still an infant and really pricey) It was really fun but really hit or miss. I wasted a lot of time playing with that thing, but at the time I was the senior in-hose photographer for a Boat/RV/Custom Conversion van company, so I had a lot of freedom to play.  I'll see if I can find some old samples.

You ended up with a very nice result.

The problem I would have using it now is I no longer have a studio to shoot in.  Its all location now, usually at the end of the production line or in a parts warehouse in some factory.  No way to control the ambient lighting. I use a lot of parts and pieces in my current work and strip them together in post, but is all generalized lighting from strobes. 

But its really cool seeing this technique in action again!
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MJSPhoto

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Re: Recent Professional Works 2
« Reply #821 on: October 11, 2013, 06:01:38 PM »

I've been using a fluorescent light I got at Home Depot for $12 a few years ago  :P










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MichaelEzra

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Re: Recent Professional Works 2
« Reply #822 on: October 18, 2013, 05:10:11 PM »

Very clean color from those lights!

A couple of new ones, shot yesterday, not sure which I like more though.





I find the camera raw very useful for BW conversion via a combination of tonemapping and the HSL Grayscale mixer.
I just tried the DXO film pack 3 (it is given for free here http://www.dxo.com/intl/sony) and was surprised how well the familiar BW films as simulated.
Superbly! but in the film days.. what would we give to have ease and flexibility we enjoy now and deviate from any given film recipe for an already shot image:)

HarperPhotos

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Re: Recent Professional Works 2
« Reply #823 on: October 18, 2013, 05:25:13 PM »

Hi Michael,

I prefer the first one it is more symmetrical.

Cheers

Simon
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Simon Harper
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alatreille

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Re: Recent Professional Works 2
« Reply #824 on: October 18, 2013, 11:16:25 PM »

I think whatever the material of the wall cladding/siding is along with the angle panels helps provide this feeling, effect.
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Between the Buildings
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uaiomex

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Re: Recent Professional Works 2
« Reply #825 on: October 19, 2013, 02:48:56 AM »

+1
Mesmerizing as always.
Eduardo

Hi Michael,

I prefer the first one it is more symmetrical.

Cheers

Simon
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JohnBrew

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Re: Recent Professional Works 2
« Reply #826 on: October 19, 2013, 07:55:33 AM »

Michael, I prefer the second version. I like the impression of movement. Yes, the first is more symmetrical, but for me it is almost too perfect.

Chris Barrett

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Re: Recent Professional Works 2
« Reply #827 on: October 26, 2013, 05:59:39 PM »

I've been shooting way more furniture than architecture lately.  This is from a series that we revisit once a year as new product is designed.  I have a lot of fun designing the sets and then the lighting of course...



from our new IQ 260 on the M-Line 2

CB

MichaelEzra

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Re: Recent Professional Works 2
« Reply #828 on: October 26, 2013, 06:07:32 PM »

Chris, very cool looking set!

georgem

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Re: Recent Professional Works 2
« Reply #829 on: October 27, 2013, 07:33:36 AM »

maybe you wouldn't mind some architecture then...

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JoeKitchen

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Re: Recent Professional Works 2
« Reply #830 on: October 28, 2013, 05:41:56 PM »

As always, great work Chris and Ashley. 

Here are some recents of mine, architecture though. 
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Joe Kitchen
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"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
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Ken R

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Re: Recent Professional Works 2
« Reply #831 on: October 29, 2013, 10:02:08 AM »

Some recent published work (Modo de Vida (interior design magazine) ). Long time client and as usual as of late almost extremely low budget and almost zero time (private residence). These are scans from the actual magazine in print. Single image captures, no retouch other than lightroom adjustments and dust cleaning.
« Last Edit: October 29, 2013, 10:04:22 AM by Ken R »
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Ken R

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Re: Recent Professional Works 2
« Reply #832 on: October 30, 2013, 10:24:16 AM »

If you had been given a bigger budget to play with, what would you have done differently ?

Or to ask the same sort of question from your client's perspective: what more would he have got from you, should he have agreed to pay you more ?  

In this specific case I would have used lights for the exterior specially for the landscaping to the right and also the pool and deck area and also the interior walls. Obviously I would have needed to shoot a bit later around dusk. It would have made the location look a bit more high end which is the clientele the company is going for with this line of products (the folding aluminum and glass doors). The space inside was quite small so it would have required a lot of creativity for rigging the lights. Rigging the lights for the outside areas would not have been a big deal but still all that takes time and more money (rentals, and at least an assistant or two). Also, the lighting would have been identical from shot to shot. You can see on the published shots that the light outside changed quite a bit. I could have composited the exterior under one of the lighting conditions but that also required much more time and the images needed to be delivered that same night to meet the magazine's deadline.

I think the images came out really nice considering it was just me with my camera and tripod and no one else. I had to clean up the patio area of toys, furniture, gardening stuff and some leaves that were making the background look quite busy. Also I had to remove all the interior furniture to make room for the shot. The wind was also moving the doors so I had to keep them in position with some ingenuity. At least long enough to take the shot. :)
« Last Edit: October 30, 2013, 10:31:13 AM by Ken R »
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ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #833 on: October 30, 2013, 06:12:51 PM »

+1 I agree. Sometime that extra effort, not paid at the moment, brings new chances with clients.
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Ken R

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Re: Recent Professional Works 2
« Reply #834 on: October 30, 2013, 07:50:38 PM »

Ive been working with this client for 6 years. And no they will not pay for extra usage. They pay for the shooting day that is it. It is a small market but they have to / want to use new images constantly. I did this shooting for 2 hours one afternoon. On that day I had another job with another different client in the morning.

This client has tried other photographers and they come back to me now they just hire me, always. Good price, good quality, fast and I am responsible and coordinate the shoots well. It is more about the service. Not always 100% about the image. Also I deal well with the owners of the mostly expensive properties. It seems absurd but if they do not like you they might complaint to the client.

Also, if I h=give this client the service of a more involved production for free how would I justify charging for it on another shoot? They will absolutely say, and rightfully so, "last time you brought lights, grip equipment and took time to light the scene and you only charged me x amount.."
« Last Edit: October 30, 2013, 07:54:45 PM by Ken R »
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HarperPhotos

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Re: Recent Professional Works 2
« Reply #835 on: October 30, 2013, 08:04:26 PM »

Hi Ken,

I totally agree with your comment Ken

“Also, if I h=give this client the service of a more involved production for free how would I justify charging for it on another shoot? They will absolutely say, and rightfully so, "last time you brought lights, grip equipment and took time to light the scene and you only charged me x amount.."

You start giving them the full service for the cost of a get in and out quick shoot the you are bugged.

Cheers

Simon
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Simon Harper
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bcooter

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Re: Recent Professional Works 2
« Reply #836 on: October 30, 2013, 10:41:23 PM »

Hi Ken,

I totally agree with your comment Ken

“Also, if I h=give this client the service of a more involved production for free how would I justify charging for it on another shoot? They will absolutely say, and rightfully so, "last time you brought lights, grip equipment and took time to light the scene and you only charged me x amount.."

You start giving them the full service for the cost of a get in and out quick shoot the you are bugged.

Cheers

Simon

Simon, Ken,

This is something we all fight in today's economy, large production or small.

We'll get a gig that big, but still the cost is held tight and to be safe you want to double your lights, add more crew, maybe even add another 4k RED or a focus puller, steadycam op,  etc. etc., but we're working from a bottom line and they know they aren't paying for all that extra convenience and safety.  

It's a tightrope and I agree with Ken and Simon, do the very best, very professionally with what you have and get on with it.   As long as your honest about what your going to provide then everyone is usually more than happy.

Turning an image or video with twice the production values might seem like a good idea and be appreciated, but usually it works the opposite way and the next time they ask why do you need to charge for that?

Ashley,

You work differently in the fact you have a unique system of shooting on assignment with the agreement to liscense your imagery to others later.  It's a good plan and the investment pays off for you.

For me,  my client's would have a coronary if I tried to cut a deal to sell their images later.  

In most cases after the licensing is up I could, in fact I have millions of dollars in lifestyle production I could offer,  but it wouldn't go over very well.

IMO

BC

P.S.

Actually I'll tell you a little secret.  A few years ago we we're shooting a still and video production and the client's ad manager asked how I promote myself.  I said by building equity with my clients and pointed to the extra RED1, the steadicam operator and focus puller.

I said there is no line item for them, I threw that in for free and that is hard cost out of my pocket of about $8,000 plus cameras I own, lens rentals etc.

The ad manager asked why I would do that and I said because you'll get imagery that's more than you expected, more usable and should put me ahead of anyone I compete with.

He kind of smiled and said, uh yea, I guess so, but next time will you do it?

« Last Edit: October 30, 2013, 10:51:33 PM by bcooter »
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Chris Barrett

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Re: Recent Professional Works 2
« Reply #837 on: October 30, 2013, 11:45:39 PM »

Word.

I am incredibly invested in gear.  Mostly because I am a big gear junky, but also because I believe that the right tools liberate creativity and allow me to do the best job that I am capable of.  I hire an assistant or two for every shoot I do and always have the same complement of equipment with me.  Well, unless we're also shooting motion and then I have twice the gear.

This week is crazy.  We started off in Austin.  I'm currently in Nashville and am catching a flight to D.C. tomorrow.  It's going to cost the client a few grand just to fly my gear around all week.  They look at the pile of gear though and they just go "Wow".  It almost doesn't even matter how much of it we actually use.

And then they look at the images on the laptop and they go "Wow" again... and we've just justified the costs.  Sometimes we go out with a couple dozen lights and only set up one... but every single time I've left some of my gear at home it's hurt my images... a missing hi-light here, not as much texture there, that little extra sparkle that puts the image over the top.  When that happens I just end up turning around, closing my eyes and quietly screaming "FUCK FUCK FUCK" in my mind.

I don't really know exactly what I'm getting at here, except to say... that Cooter's example struck a nerve.  If you want to make the best work possible, if you want to be in this for the long run, make money and be respected, then don't dick around.

Rant brought to you by Fat Tire Amber.

Now here's a picture of an elevator.

bcooter

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Re: Recent Professional Works 2
« Reply #838 on: October 31, 2013, 12:30:39 AM »

Word.


I don't really know exactly what I'm getting at here, except to say... that Cooter's example struck a nerve.  If you want to make the best work possible, if you want to be in this for the long run, make money and be respected, then don't dick around.



I get it.

We travel with 4,900 lbs of equipment, from asia through europe and keep lighting, grip and computers in three cities and like Chris says, if I leave something I didn't want to carry like the hmi's or a lens set I curse myself.

And don't get me wrong, the image matters, really matters and in the end that's all anyone sees, but it does have an effect if you come in on set with cases of equipment, crew and work highly professional.

Professionalism, work ethic, to equipment matters and with the addition of video you can't have too much equipment (unfortunately).

Still, there is a fine line between being prepared and giving away the store and the days of a single tasking crew member is over.

The only people I work with that single task are the sound tech and usually hair and makeup.   I expect prop stylists to wardrobe, wardrobe to prop, the guy running the dit station can sure as hell pick up a light stand, or a Pelican case, because I do.

Ok, now off to bed.

BC







« Last Edit: October 31, 2013, 07:25:00 AM by bcooter »
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HarperPhotos

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Re: Recent Professional Works 2
« Reply #839 on: October 31, 2013, 01:11:04 AM »

Hello,

A new image for Honda combining Dedo lights and my new Ice Light.

Nikon D800E and Nikon 80-200mm G lens @ 92mm, F16.0, 10 Sec, 100ISO

Cheers

Simon
« Last Edit: October 31, 2013, 04:29:05 AM by HarperPhotos »
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Simon Harper
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