Recent Professional Works

[chiek]

Chocolate Jewerly Exhibition images.


I can't eat this art works...

[JoeKitchen]

3 strobes
7 hot lights
good timing

Shot this one yesterday; aside from removing exit signs and some raw processing, it's pretty much right out of the camera. 

[haefnerphoto]

Nicely done Joe!

[JoeKitchen]

Nicely done Joe!

Thanks Jim, once again it always means a lot to hear this from one of the best photographers in my genre.  

BTW, that mustang, looks great.  It must be nice to work with some of the best and coolest cars out there.  Please tell me they let you test drive them a little; you know, just to feel out the subject, see what it can do, and help you make a better picture.  

[Dick Roadnight]

3 strobes
7 hot lights
good timing

Could you have used a faster shutter speed to darken the ambient and the outside slightly?

[fredjeang]

I like very much the balace in the lightning that shows all the different planes. It's clean.

What I find "conflictive" in general and not in that picture in particular, is the diagonal in the entrances, or when the diagonal perspective is very close to the shooted point. But this is me.

[JoeKitchen]

Could you have used a faster shutter speed to darken the ambient and the outside slightly?

Only slightly faster.  That exposure is a 13th, I keep on bouncing back and forth to whether I should have done a 15th instead.  But overall I like it; I did however add a slightly dark gradient to the bottom right corner to make it look more realistic. 

[Rob C]

Thanks Jim, once again it always means a lot to hear this from one of the best photographers in my genre.  

BTW, that mustang, looks great.  It must be nice to work with some of the best and coolest cars out there.  Please tell me they let you test drive them a little; you know, just to feel out the subject, see what it can do, and help you make a better picture.  

Imagine applying that philosophy to human models; I like it already!

Rob C

[Frank Doorhof]

Depends on the model.

[haefnerphoto]

Thanks Jim, once again it always means a lot to hear this from one of the best photographers in my genre.  

BTW, that mustang, looks great.  It must be nice to work with some of the best and coolest cars out there.  Please tell me they let you test drive them a little; you know, just to feel out the subject, see what it can do, and help you make a better picture.  

Joe, No, I didn't drive the car.  It was put into a semi that was headed off to the SEMA show in Las Vegas as soon as I was finished.  Glad you liked the shot though.  Jim

[Rob C]

Depends on the model.

Frank, you'd book one you didn't think you'd like?

Oy vey, already!

Rob C

[HarperPhotos]

Hello,

Shoot the other day.

Cheers

Simon

[Frank Doorhof]

Lol even then.
I go for a little substance if that is the correct term for not looking at looks only

When you work with beauty everyday it's still fun but it's just work.






That I love

[aaronleitz]

3 strobes
7 hot lights
good timing

Shot this one yesterday; aside from removing exit signs and some raw processing, it's pretty much right out of the camera. 

This is definitely one of the better photographs you've posted here. The lighting is well done and not obvious or intrusive.

Some nitpicks: I am undecided as to whether or not I like seeing the left glass entry wall. Unless it's a one-point perspective, I generally don't like seeing three walls in an interior photograph. It might be worth trying to crop the left side out. You've got an almost perfect vertical line in the floor tile that you could crop just to the left of, maybe right where the white ceiling hits the revolving door.  You've also got some dust spots in the foreground ceiling.

[JoeKitchen]

This is definitely one of the better photographs you've posted here. The lighting is well done and not obvious or intrusive.

Some nitpicks: I am undecided as to whether or not I like seeing the left glass entry wall. Unless it's a one-point perspective, I generally don't like seeing three walls in an interior photograph. It might be worth trying to crop the left side out. You've got an almost perfect vertical line in the floor tile that you could crop just to the left of, maybe right where the white ceiling hits the revolving door.  You've also got some dust spots in the foreground ceiling.

The left glass wall is a very important part of the architectural design, or at least the principal architects thinks so.  I also like seeing it, it adds more complexity, which I like as a math guy.   

[Phil Indeblanc]

nicely done!

[Dick Roadnight]

Club 21

Simon

I like fully saturated images...

With the splayed wall, it is difficult to see what is perspective distortion and what is real, but it works for the subject... what format/lens did you use?

It looks better the more you zoom into it.

[Rob C]

Lol even then.
I go for a little substance if that is the correct term for not looking at looks only

When you work with beauty everyday it's still fun but it's just work.

That I love

Frank, so did I, but I guess you have become jaded young.

I worked the other way around: I found the work to feed the passion. The problem with that, in later life, is that the sources let go before you realise that you didn't have any intention of letting it all just slip away through your fingers...

But hell, memories are some sort of consolation prize; maybe you could call them the booby prize. (Yes, of course.)

Rob C

[HarperPhotos]

Hi Dick,

Nikon D3x and a Nikon 14-24mm lens. I used one Bowens flash with a small strip soft box on my right side and exposed for the light above the bar to retain its detail. Proceed in Adobe Bridge CS5 to open up the shadows.

Cheers

Simon

[Dick Roadnight]

Hi Dick,

Nikon D3x and a Nikon 14-24mm lens. I used one Bowens flash with a small strip soft box on my right side and exposed for the light above the bar to retain its detail. Proceed in Adobe Bridge CS5 to open up the shadows.

Cheers

Simon

Thanks, Simon... I wonder how it would have looked with a non-retrofocus lens?