Topic: Recent Professional Works (Read 1791769 times)

Phil Indeblanc · « **Reply #2220 on:** July 14, 2010, 03:10:59 am »

Quote from: KLaban

The problem I have is it's not that obvious to me, particularly in the landscape/nature images and I have difficulty seeing the influence.
I guess we are all the sum of our parts.

of course you don't see it...

until the piece has your influence, it just isn't right. Besides if you see it, it will evolve. :-)

tetsuo77 · « **Reply #2221 on:** July 14, 2010, 04:43:03 am »

Quote from: fredjeang

Madrid is Hell, as always in the summer. Continental, dry, high altitude and no air and 38 grades on the shade as the average and the hell cocktail is served.

But, hey...they win the world cup!

Some snaps I'd like to share with you from yesterday. Those are obviously not pro works but that was unique and crazy!
I have devellopped so far almost nothing but it gives you an idea about the ambiance.

This on the Gran Vía, all the streets where like this.
[attachment=23122:mwc56.jpg]

Casillas Captain with the world cup
[attachment=23123:mwc57.jpg]

Sergio Ramos happy
[attachment=23124:mwc58.jpg]

Such tossers people living in Madrid.
Start thanking to god there is no humidity there as there is in BCN, better known as Smelter City.

fredjeang · « **Reply #2222 on:** July 14, 2010, 05:33:17 am »

Quote from: KLaban

It's perhaps inevitable that my experience as a painter has influenced other areas of my work, indeed I've been told that this is so on plenty of occasions. I've even tried to explore this in the Found Paintings series but if anything it has muddied the waters for me rather than given me insight into the relationship.

The problem I have is it's not that obvious to me, particularly in the landscape/nature images and I have difficulty seeing the influence. I'm told it often enough so I'm sure it must be there but this has never been a conscious process during capture or post processing.

I guess we are all the sum of our parts.

Well, I think it is indeed much better that you do not feel, or systematize a relation with the painting or any other medium but just doing the task as you always do.

In my understanding, more we try to understand our proper work, more the result gets overdone and loose its freshness.
In fact we are doing over and over again the same pic, in the form of infinite variations.

It is "healphy" that it is the public that is talking about our work and seeing things that we are not always conscient.

Cheers.

jduncan · « **Reply #2223 on:** July 14, 2010, 10:36:43 am »

Quote from: Yelhsa

One of the many images captured at Ashford Castle over the past few days...

Hello. The lighting is very complete (whole). This is ideal for a shoot like this one. Could you be so kind to comment a little about the illumination? I see that there is a lot of natural light coming from the right side of the frame, but not convinced that it is all (by example there is light in the back of the male model). Thanks.

JoeKitchen · « **Reply #2224 on:** July 14, 2010, 02:31:05 pm »

Quote from: Yelhsa

Start with this...

semillerimages · « **Reply #2225 on:** July 14, 2010, 02:53:42 pm »

Very impressive Ashley, thanks for showing the before and after images!

*steve

Quote from: Yelhsa

Start with this...
... add a few flash-lights (3 x 3K's, 2 x 1.5K's and 4 x 750's) and it ends up looking like this...
... after years of practising.

Should you wish to learn more and see how it's done, contact me - and I will forward you on details of our up & coming workshop at this and other locations.

LKaven · « **Reply #2226 on:** July 14, 2010, 11:58:58 pm »

Quote from: Yelhsa

... add a few flash-lights (3 x 3K's, 2 x 1.5K's and 4 x 750's) and it ends up looking like this...

It looks like you are replacing the daylight by packing the windows, nicely recessed, with a charge, same on the second floor. And spotting on certain subjects.

If that's what you did, it makes sense. The architecture of the room and the placement of the windows are completely integral. You made it look entirely seamless. Very skilled.

K.C. · « **Reply #2227 on:** July 15, 2010, 12:22:44 am »

Quote from: LKaven

It looks like you are replacing the daylight by packing the windows, nicely recessed, with a charge, same on the second floor. And spotting on certain subjects.

It's all about filling in the dark areas and making it look natural.

Just takes time, gear and practice.

HarperPhotos · « **Reply #2228 on:** July 15, 2010, 04:09:44 am »

Hello,

One of many food shots taken today for a Asian restaurant.

Stats:

Mamiya 645AFDII
Leaf Aptus 75
Horseman VCC pro view camera converter
Rodenstock 105mm F4 Apo-Rodagon N @ F5.6
Bowens flash

Cheers

Simon

Frank Doorhof · « **Reply #2229 on:** July 15, 2010, 04:11:59 am »

Some from yesterday

jduncan · « **Reply #2230 on:** July 15, 2010, 09:43:43 am »

Quote from: Yelhsa

Start with this...
. Just like they say: The practice make the master. Thanks about the workshop, but I am bound to my country (costa rica) for the rest of the year .

BobDavid · « **Reply #2231 on:** July 15, 2010, 05:04:17 pm »

I reworked this photo that I shot a couple years ago. ... What a bruiser.

wolfnowl · « **Reply #2232 on:** July 16, 2010, 10:21:06 pm »

Now that's a face only a mother could love! Great shot though.

Mike.

tesfoto · « **Reply #2233 on:** July 17, 2010, 05:14:33 am »

Quote from: Yelhsa

Start with this...

... add a few flash-lights (3 x 3K's, 2 x 1.5K's and 4 x 750's) and it ends up looking like this...

... after years of practising.

Should you wish to learn more and see how it's done, contact me - and I will forward you on details of our up & coming workshop at this and other locations.

Somehow I like the atmosphere of the first shot better.

I like the dark ceiling and the overall contrast in the first image, second image seems a bit to artificial for my taste.

It seems like a parodox that the first image has a stronger presence of light, but it is the second one that has been lit.

BTW is it the building, or do your lens suffer from strong barrel distortion ?

tesfoto · « **Reply #2234 on:** July 17, 2010, 05:21:27 am »

Quote from: K.C.

It's all about filling in the dark areas and making it look natural.

Just takes time, gear and practice.

The dark areas looks natural - filling in doesn't - IMO

Why are photographers (clients) so afraid of darkness ?

Rob C · « **Reply #2235 on:** July 17, 2010, 05:37:41 am »

Quote from: tesfoto

The dark areas looks natural - filling in doesn't - IMO

Why are photographers (clients) so afraid of darkness ?

The same psychology used to exist in fashion photography in the days of the 'want to see every stitch' school of thought.

It's not that either is wrong, just that it has needs or preconceptions that become ingrained and almost impossible to shift, where the only solution is choosing different clients. But this is business: you keep what you can and are ever stuck looking for more because since change is the only inevitable, you are going to lose your existing clients over time. Have a happy weekend!

Rob C

Dick Roadnight · « **Reply #2236 on:** July 17, 2010, 10:38:39 am »

Quote from: K.C.

It's all about filling in the dark areas and making it look natural.

Just takes time, gear and practice.

It is about not using too much fill, so that is does still look natural.

...and including people so that it looks if it was all done in one shot

...and balancing the artificial light so that it looks "naturally artificial" an not over-corrected

...and trying to get away with "select colour range" or inverse layer masking to avoid having to eliminate all natural light for an artificial shot.

¿does anybody want to go back to making several exposures on one sheet of film and not having the option to second guess any of them?

AlexM · « **Reply #2237 on:** July 17, 2010, 12:25:35 pm »

You are absolutely right. One thing is when you are shooting a fine art image so you can do whatever you like, spooky, dark, gothic or bright, oversaturated with weird colors. And another, when you are working on a commercial project. That's when you should think not about what you like or the client likes but actually about what would the market you are targeting like and what would make them visit that place or buy that product.
IMO, the nicely lit image looks much more inviting. It will also make a great addition to your book.
OTOH, the dark one could make a good fine art print with a bit of retouching.

Alex

pixjohn · « **Reply #2238 on:** July 17, 2010, 01:53:30 pm »

It depends on the type of client. I shot interiors for designers, They want to see the paint color, fabrics and texture you lose without light.

What is the picture about, the mood or the design?

I would like to see a little less light on some of my projects, but most of my clients want to have things lit. I think one reason less light is also used is $$$ clients don't want to pay and photographers don't own the lights.

Quote from: tesfoto

The dark areas looks natural - filling in doesn't - IMO

Why are photographers (clients) so afraid of darkness ?

pixjohn · « **Reply #2239 on:** July 17, 2010, 01:57:52 pm »

I have said the same thing in previous post. When someone says it looks more natural with available light I ask if the picture really looks the same to your eye at the time of exposure? The answer is always no. The eye see a larger range of colors and depth.

Quote from: Yelhsa

There are more than 100 different ways to shoot any subject...
To the 'eye' it wouldn't have looked more natural - if you were standing there - because the 'eye' can see much more than the capture device can record, due to it's limitations.

Author Topic: Recent Professional Works (Read 1791769 times)

fredjeang