Recent Professional Works

[Rob C]

I appreciate what you say, BC, but it's not about what I'm questioning, which is why those simple, old-factory interior shoots have to be expensive beyond the model and photographer fees. I don't think Lindbergh only shoots actresses and as far as I know, neither Vogue nor Harper's pays anybody much for taking part, but see it as their helping the models/snappers get exposure for commercial work as spin-off from the editorial. And it's editorial work that I think of when I think of Lindbergh's factory shoots. Long ago, but what I got from fashion editorial during the 70s wasn't worth the shooting, but I didn't know that at the time.

Anyway, I guess it's all academic because nothing's going to change by intent, only by happenstance.

Cheers -

Rob C

[ACH DIGITAL]

Well, since it seems to be retro-Friday.



Fuji X-E1 (please don't shoot me )

Martin love your shot and post.

[SecondFocus]

Best reason I have seen to buy a Fuji! Wonderful photograph! Probably had something to do with more than just the camera

Well, since it seems to be retro-Friday.



Fuji X-E1 (please don't shoot me )

[SecondFocus]

I truly love this! Beautiful photograph!

I'll join in on the theme  

[SecondFocus]

BCOOTER!! I just want to say Thank You for all the times you have shared your work and the info on your shoots!

I hate taking this section of the thread off topic, but maybe that's just the way it goes.

You may not have had client's on set but PL did.  Plus knowing celebs, about a million directives thrown at his producer.  Ever deal with a star's agent, manager, personal assistant?  That hair and makeup person you would hire for ___fill in the blanks___ will triple because they usually want their special person flown in at their special person's rate.
Look at that IWC Schaffhausen watch spread with Kevin Spacey and Kate Blanchett.  Those two are expensive and powerful.  Every prop from cars, to boats, to vintage cameras have to be sourced, found and placed.  Then add the catering for the talent and for that type of talent is about double the day unless they're normal folk and most stars are not normal folk.

Rob, you've shot with models on location, done it well,  had a lot of latitude,  but when you get that level of involvement from that many people, managers, agents, just the wardrobe truck is probably larger than 90% off any lighting truck in Hollywood.

The good news is having that talent to toss the names out gets you a lot of free wardrobe, but it takes a a lot of pressers and seamstress to get it ready.

I might be wrong, I wasn't there, but I can tell you what nearly everything in this business costs and that watch project he shot costs a bunch, or his producer pulled some amazingly good favors.

All that talent has brands to protect and the retouching, regardless of what was really paid and regardless of how real it looks at retail value is higher than 99.99999% of any shoot shown on this forum.

The only thing that would lower the price is if it was a movie set and he was allowed a day or so just to use anything they had on set and shoot what he wanted, but advertising rarely works that way.

I'm not excusing the shoot I did, I like it and I have almost free run of the Sony Lot due to a great business relationship, but that doesn't allow me to go onto any sound stage and start shooting, or grab someone's arriflex and use it as a prop.

Everything we shoot we have to bring in.  Hell the errors and omissions insurance and liability riders, city permits (yes you sometimes have to cut permits in culver city even on a movie lot) on our shoot can be as much as a small crew.

This is now a very expensive business.

IMO


P.S.  One note, Europe usually is a lot easier and cheaper to shoot this style of project than America.  People will let yo use a restaurant without 22 waivers and a letter from the marketing department.

Police don't hassel you on every corner like in the U.S. and there is usually a respect for the art that I don't see in L.A.



BC

[wolfnowl]

I'll join in on the theme  

James, this piece reminds me of this work (not going to attempt to pronounce the name): http://500px.com/89205537525

Mike.

[James Clark]

Thanks so much for all the kind words, everyone.  For a "part time" semi-pro like me to hear compliments from highly regarded working pros is very much appreciated.

[bcooter]

James,

A lot of times all of us look at a photo and think " i would of done this or ___"

There is nothing anyone could do better to the photograph your showing.

It's beautiful.

BTW:

#3 in the series of 4



BC

[MichaelEzra]

It is interesting how our psyche works, how we respond to images showing deterioration and decay that implies passage of time and finality, triggering the course of memories, either your own or of prior generations.
When we are faced with them, it does not come to mind to count pixels and split hairs, we observe image as a whole and appreciate it by likely using the right side of our brain:)

[Martin Ranger]

Thank you so much, everyone, for the nice words. They are certainly appreciated.

[Rob C]

It is interesting how our psyche works, how we respond to images showing deterioration and decay that implies passage of time and finality, triggering the course of memories, either your own or of prior generations.
When we are faced with them, it does not come to mind to count pixels and split hairs, we observe image as a whole and appreciate it by likely using the right side of our brain:)

That's a good observation, Michael.

I know without doubt that it works for me, because my all-time favourite Pirelli calendar is the Sarah Moon '72 one, shot in a chateau (Malmaison) outside Paris, with women wearing old-fashioned clothes, employing lots of grain and the generally wonderful mood of days long gone

It's not by accident that so much interesting  stuff comes from around the Art Deco period... unbridled love of design and senstivity; not a hint of the horrors of forced gender equality (in the sense of there being but a single sex, bar the mechanical bits) and the wilful blindness to the differences that make the world work.

Thank God I grew up in an age when people were able to appreciate the entirely different mental and natural assets and proclivities rather than metaphorically (and ultimately futilely) attempt to make boys play with dolls and girls with guns and, worse, footballs.

Yes, that's a most engaging picture and the girl enters into the spirit of the thing perfectly. Note the wonderful lack of plastic epidermis.

Rob C

[Rob C]

Some more Kodachrome 64 Pro out of Nikon F or F2.

Calendar shoot in Singapore for lager client; kept 'product' as small as diplomatically possible... it was visible on the page. I never felt that beer and girls look right together; it goes against my instincts. I always associate beer/lager with 'lads' and football. I think girls should sip G&Ts or nurse a Campari soda.

;-)

Rob C

[LKaven]

It is interesting how our psyche works, how we respond to images showing deterioration and decay that implies passage of time and finality, triggering the course of memories, either your own or of prior generations.
When we are faced with them, it does not come to mind to count pixels and split hairs, we observe image as a whole and appreciate it by likely using the right side of our brain:)

It's interesting though how most all such images feature the juxtaposition of very youthful subjects, implicitly flirting with death.  I wonder how those very images will age themselves though.  But this is not to impugn the artistry of those who create them.  I do like the images that have been shown here.

[Martin Ranger]

I wonder how those very images will age themselves though. 

It is funny, how in this day of super-high-tech digital cameras with unprecedented resolution etc there seems to be a longing for the simulated film look, including "vintage" colors, fake scratches and stains. Maybe in 30 years there will be software to re-create that 2D photo look with the artificial digital noise and blown highlights 

In the meantime, to atone for my first, sub-FX post in this thread, a real MF photo, taken during a break in the real shoot. Shot with a Fuji GX680 (open that can of worms at your own peril).

[BrendanStewart]

From a recent shoot in India...

[SecondFocus]

Brendan these are wonderful! What is the story behind this shoot and how did you shoot them?

From a recent shoot in India...

[haefnerphoto]

I was going to ask the same question.  They are stunning images!  The only minor tweak I'd suggest is to fix the haloing above the building in the second shot.  The talent looks great!

[HarperPhotos]

Hello,

Another panorama I shot at sunrise this week for one of my clients.

14 images taken with a Nikon D800E and Nikon 50mm F1.4 G lens in a horizontal position and stitched in PS6.

High res version at the link below.

http://www.yousendit.com/download/UW16aUNLa0RCMTV4Tk1UQw

Enjoy

Simon

[ACH DIGITAL]

A couple of interior shots for a local furniture store.





ACH

[Ed Foster, Jr.]

Hello,

Another panorama I shot at sunrise this week for one of my clients.

14 images taken with a Nikon D800E and Nikon 50mm F1.4 G lens in a horizontal position and stitched in PS6.

Well done, as usual, Simon. You don't seem to be having any problems with moire along the railings, for example. I made some photographs recently with the D800 (not E) had a had moire at the vertical balcony railings. Any thoughts on how to eliminate this?

Thanks,
Ed