Recent Works

[jimgolden]

It's just a downsampling error, depending on size and screen resolution.

Here is a larger version

[attachment=6850:attachment]

JR
[a href=\"index.php?act=findpost&pid=198919\"][{POST_SNAPBACK}][/a]

nice work JR - I like that look for this type of work...thats a lot of pushing and pulling sliders in LR

[haefnerphoto]

Thanks for the compliments on the Corvette photography!  The vehicle is an olive metallic and it was shot against white.  I sampled the car's color to help create the background.  By the end of the week, I'll have more to show.  Jim

[SecondFocus]

Jim;

The Corvette is great but so is the rest of the work on your website. Very impressive!

[Anthony R]

Jim,

You do exceptional work.

[TMARK]

P30+, mam. AFd, 45mm at 13.  Shot as part of an editorial on movers and shakers in publishing.  The B&W is Sinar P, Rodenstok Symar 210 5.6, at 11, 4x5 Ilford Delta 100.  Editors selected the film B&W and the P30 color.

[attachment=6877:attachment][attachment=6878:attachment]

[PdF]

Good work! Did you use a MacroScan for stitching? And how do you handle the white shading when stitching?

Cheers,
Kumar
[a href=\"index.php?act=findpost&pid=199172\"][{POST_SNAPBACK}][/a]

I don't use a MacroScan, because i don't like the Hasselblad mounting system. The Sinar Rotating back of the P2 is really amazing. And a manual shifting with the P2 is rather precise.

The postproduction is heavy: I make a lot of pictures, wich I assemble. They are often made in industrial environnement, with a horrible decor.

The multishot mode is indispensable: many pictures with networks of textile, who don't forgive the "one shot". I need the finest optical systems available. The Sinarback 23 accepts Nikon lenses (the 85mm f2.8 tilt-shift is the best, for me).

I don't change the white shading during stitching: the lighting is very constant and secure.

PdF

[Dustbak]

I have used the 85PC quite often as well but on many occassions (specifically with some backlighting) I got a round hotspot and a light ring a bit further out the center.

Have you ever witnessed that with your Sinar back?

[ixpressraf]

My little angel.... 528c single shot and a lot of PS.

[PdF]

I have used the 85PC quite often as well but on many occassions (specifically with some backlighting) I got a round hotspot and a light ring a bit further out the center.

Have you ever witnessed that with your Sinar back?
[a href=\"index.php?act=findpost&pid=199390\"][{POST_SNAPBACK}][/a]

Absolutely no problem with the Nikon PC 85 in combination with the Sinarback 23HR: it's perfectly regular, and super-sharp, even when shifted. And without hotspot in contrejour.

PdF

[douglasboyd]

All,

Okay I will join in here.  On April 1 I was in Washington DC, and had a few hours to photograph the cherry blossoms.  These last only three days, and there was rain the first two days.  But on that afternoon the sun came out for a few hours.  I used Hasselblad H1 and Phase One P30 back.  Most are taken with the 80mm normal lens, but one or two with the 35mm lens.  Here is the link:
http://www.dboyd.com/Photos_08/Cherry%20Bl...20Blossoms.html

==Doug

[VanKou]

Hi...

Hasselblad V with a V96C and a 150mm/f4

[SecondFocus]

Superb!

Hi...

Hasselblad V with a V96C and a 150mm/f4
[a href=\"index.php?act=findpost&pid=199453\"][{POST_SNAPBACK}][/a]

[James Godman]

P30+, mam. AFd, 45mm at 13.  Shot as part of an editorial on movers and shakers in publishing.  The B&W is Sinar P, Rodenstok Symar 210 5.6, at 11, 4x5 Ilford Delta 100.  Editors selected the film B&W and the P30 color.

[attachment=6877:attachment][attachment=6878:attachment]
[a href=\"index.php?act=findpost&pid=199321\"][{POST_SNAPBACK}][/a]

Sweet!  I like the b&w one especially.

[TMARK]

Sweet!  I like the b&w one especially.
[a href=\"index.php?act=findpost&pid=199477\"][{POST_SNAPBACK}][/a]

Thanks James.  I've been stepping back from shooting commercial fashion and beauty this year and concentrating on editorial and personal work.  I've been shooting other people's comps for so long that all of my personal work feels stale.

So much of what's published and posted all looks the same.  People are lighting the same way, using the same modifiers and strobe systems, the same digital cameras and lenses.  The result is a beautiful sameness.  I'm trying to get away from all that by working on images that are less produced.  I want the subject to be as bare as possible. I'm working with a single strobe, a softbox and a some shiny board, shooting 4x5 and MF film and digital.  I might add an M8 to the mix because the lenses have a special look to them.

[Dustbak]

I've been shooting other people's comps for so long that all of my personal work feels stale.


[a href=\"index.php?act=findpost&pid=199559\"][{POST_SNAPBACK}][/a]

Funny you should say that. I am kind of starting to feel the same way. Having produced 75K images last year and looking back through that to find only a few images that a would like to keep does make me somewhat sad  

It does pay the bills and nice equipment though but I do need to find a way of using it more for my own projects.

[TMARK]

Funny you should say that. I am kind of starting to feel the same way. Having produced 75K images last year and looking back through that to find only a few images that a would like to keep does make me somewhat sad   

It does pay the bills and nice equipment though but I do need to find a way of using it more for my own projects.
[a href=\"index.php?act=findpost&pid=199564\"][{POST_SNAPBACK}][/a]

It hit me one day last November.  I had a really busy and successful year both personaly and professionaly (we had a baby!).  I hadn't sent out a new card or updated my very old and barely functional web site in months.  I looked through the keepers from the year and didn't really like anything I saw.  Well crafted, well executed, beautiful even but it all looked like every other cosmetics ad or lame lifestyle shot.  I had shot some editorial on film that I liked, and I even liked the raw stuff I shot for Nike in connection with the launch of a retro shoe.  It's the spontenaity, the emotion that usually isn't there when you have 24,000 watts of Profoto aimed at someone and there are 20 people standing around (only 4 are working). Not to mention, its not your comp.

So I've been shooting editorials and tests and taking fewer commercial jobs.  I have also been spending time with the family, which is really great.  I hope to have a new book of editorial and personal work ready by September.  What I have thus far has landed me a nice catalogue shoot for a hip retailer.  Fall 2008!

By the way, I like those A17 shots you did of your family on a Tru Wide, I think it was, and that you posted here.  In the kitchen?  You used a Nikon lens I think.

[mtomalty]

Here's a 58 Corvette shot Tuesday for Corvette Quarterly.  It's part of a several page article, I'll send along more as I get them finished.  Jim

Apologies for posting a couple of DSLR pics in an MF thread but I thought our lighting
approach is somewhat similar apart from the fact that my 'set' is only about 6 inches wide !

Same shadows and top highlights,though



To add mediun format relevant content I have tried this series (I'm up to about 70 Quebec
species so far) using an H3939 and 120 macro but the magnification (anywhere from
1/2 to twice lifesize) and aperture requirements (f16-f19 on full frame 35mm format)
make it impractical.  As it is I can just hold enough focus at f16 but with a 645 chip
even @ f16 image sharpness degrades seemingly worse than 35mm.

As I'm eventually looking to go with large prints, any suggestions as to how to make this
work with a MFDB would be appreciated but I fear optical laws make it an improbability.

To complicate matters,every subject is living (although some are refrigerated to slow
them down a bit) and all are released.  All survived excdpt for a couple of mosquitos!
[attachment=6896:attachment][attachment=6898:attachment]

[SecondFocus]

I just have to say WOW!

Apologies for posting a couple of DSLR pics in an MF thread but I thought our lighting
approach is somewhat similar apart from the fact that my 'set' is only about 6 inches wide !

To complicate matters,every subject is living (although some are refrigerated to slow
them down a bit) and all are released.  All survived excdpt for a couple of mosquitos!
[attachment=6896:attachment][attachment=6898:attachment]
[a href=\"index.php?act=findpost&pid=199587\"][{POST_SNAPBACK}][/a]

[James Godman]

So much of what's published and posted all looks the same.  People are lighting the same way, using the same modifiers and strobe systems, the same digital cameras and lenses.  The result is a beautiful sameness.  I'm trying to get away from all that by working on images that are less produced.  I want the subject to be as bare as possible. I'm working with a single strobe, a softbox and a some shiny board, shooting 4x5 and MF film and digital.  I might add an M8 to the mix because the lenses have a special look to them.
[a href=\"index.php?act=findpost&pid=199559\"][{POST_SNAPBACK}][/a]

I have felt the same way for several years.  In fact a couple years ago I bought some kitchen lights at IKEA and attached the reflectors to some profoto rings.  Gives a different look.  Also, I use some other IKEA lamps with some daylight balanced fluorescent bulbs.  They are not bright, but that allows me to put them quite close to the subject, which in itself forces a different look, and I like the falloff.

[jjj]

  All survived excdpt for a couple of mosquitos!
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My heart bleeds. Not!  
Gorgeous images BTW.