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Author Topic: Recent Professional Works  (Read 1619574 times)

Scott Hargis

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Re: Recent Professional Works
« Reply #3780 on: October 03, 2012, 02:07:26 pm »



Kitchen detail. Exposed for halogens over stove, lit the cabinets, foreground. Gelled the undercabinet fluorescents a full cut of minus green.
« Last Edit: October 03, 2012, 02:14:07 pm by Scott Hargis »
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Graham Mitchell

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Re: Recent Professional Works
« Reply #3781 on: October 03, 2012, 04:28:05 pm »

Nicely done, Scott!
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Scott Hargis

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Re: Recent Professional Works
« Reply #3782 on: October 03, 2012, 06:53:26 pm »

Hi Simon,

I don't spend enough time on this forum to know whether this is normal here, but I have to say that I'm not comfortable with people downloading my photos, editing them, and then re-uploading.
I'm more than happy to hear your opinion of it, which is why I presented it, but I'd appreciate it if you'd delete your edited version. You comment is perfectly valid, and I hope you'll leave that up.

best, S

uaiomex

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Re: Recent Professional Works
« Reply #3783 on: October 03, 2012, 11:04:50 pm »

Dios mío Michael! This is your best ever!
Eduardo

:) Here is another one from the series:


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uaiomex

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Re: Recent Professional Works
« Reply #3784 on: October 03, 2012, 11:10:14 pm »

You are getting better by the minute!
Eduardo
Here is a little more kick to the theme:




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bcooter

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Re: Recent Professional Works
« Reply #3785 on: October 04, 2012, 03:42:29 am »


Contax p21+

BC
« Last Edit: October 04, 2012, 03:46:35 am by bcooter »
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Dick Roadnight

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Re: Recent Professional Works
« Reply #3786 on: October 04, 2012, 05:55:03 am »



Kitchen detail. Exposed for halogens over stove, lit the cabinets, foreground. Gelled the undercabinet fluorescents a full cut of minus green.
It is nice to read that someone does it properly ... getting it right in camera.

Have you tried shooting different light sources in different shots and profiling, light balancing or post-processing each light source?
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Hasselblad H4, Sinar P3 monorail view camera, Schneider Apo-digitar lenses

MichaelEzra

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Re: Recent Professional Works
« Reply #3787 on: October 04, 2012, 09:56:42 am »

Thanks, Eduardo:)

@Dick, you are correct that gravity is acting downwards. I used a single cushioned support under the model's body that was removed in post with a single fill-in. You are lucky to have access to gymnasts! Most of the models I work with are in a very good physical shape, but are not gymnasts; there was only one in 2002. I wish I could find a contortionist to work with...

@Scott - very clean lighting, great job! Have you tried using Oloneo HRD relight (http://www.oloneo.com/en/page/products/photoengine/hdr-relight.html)? It allows to create a lighting composite based on individual frames, each shot using a separate light source.
« Last Edit: October 04, 2012, 10:07:03 am by MichaelEzra »
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Scott Hargis

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Re: Recent Professional Works
« Reply #3788 on: October 04, 2012, 11:09:18 am »

Thanks for the comments, everyone. Michael, I'm really blown away by this recent set of nudes you've posted.

I prefer not to do compositing unless I simply cannot accomplish the shot otherwise. I like to have the shot pretty thoroughly pre-visualized, and I personally find it difficult to keep track of too many "parts" when I'm building a shot towards that vision. I also work with clients who want to see and approve the shot on location, and I wouldn't want to ask them to "imagine" the final result. Realities of commercial photography sometimes dictate a window replacement, etc., but for the most part I find it faster, easier, and much better image quality to just get it in-camera.

ACH DIGITAL

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Re: Recent Professional Works
« Reply #3789 on: October 05, 2012, 10:33:27 am »

I agree with Scott, it's more professional to do it in camera, although sometimes it could be painful.

To complement the above comments I would suggest avoiding the blue light (daylight) hitting the right side of the steel parts.

It could be intentional but I think it contaminates the very clean otherwise. Just desaturating the blue would be enough.

ACH
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Antonio Chagin
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ACH DIGITAL

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Re: Recent Professional Works
« Reply #3790 on: October 05, 2012, 10:35:45 am »

Do you think I would get sue for using this image as a self promotional piece?

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Antonio Chagin
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Kirk Gittings

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Re: Recent Professional Works
« Reply #3791 on: October 05, 2012, 10:40:58 am »

I agree with Scott, it's more professional to do it in camera, although sometimes it could be painful.

To complement the above comments I would suggest avoiding the blue light (daylight) hitting the right side of the steel parts.

It could be intentional but I think it contaminates the very clean otherwise. Just desaturating the blue would be enough.

ACH

I completely disagree. The blue keys the slight warmth in the image and also sets the image apart as a real world design ie location shot instead of the ubiquitous studio manufacturers tile/plumbing/cabinetry shot.
« Last Edit: October 05, 2012, 10:57:18 am by Kirk Gittings »
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Thanks,
Kirk Gittings

ACH DIGITAL

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Re: Recent Professional Works
« Reply #3792 on: October 05, 2012, 10:47:05 am »

Thanks Kirk, something to learn. ACH
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Antonio Chagin
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Kirk Gittings

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Re: Recent Professional Works
« Reply #3793 on: October 05, 2012, 11:05:03 am »

Architecture in the real world is never perfect. IMO if you PS/Light it whatever till it looks absolutely perfect it starts to look like a rendering or a staged studio set. In real architecture there are lot of distracting things that need to be fixed/lit in shot or in post-but take it to far and it starts to look fake. That is what I don't like about some contemporary fashion photography. The women look like mannequins with skin like the Pillsbury Dough Boy-about as interesting as a Stepford Wife.

Now much of the architecture/interiors I shoot have multiple uses for a client such as portfolio, editorial submissions and design competitions. The later two require some real world veracity and my considerable skills at "fixing" things have to be held in check. Showing mixed lighting is a part of that.
« Last Edit: October 05, 2012, 11:10:20 am by Kirk Gittings »
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Thanks,
Kirk Gittings

ACH DIGITAL

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Re: Recent Professional Works
« Reply #3794 on: October 05, 2012, 11:14:47 am »

The line that defines what is acceptable and what is not in Architectural Photography is what takes longer to master. Thanks for sharing your experiences. ACH
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Antonio Chagin
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ACH DIGITAL

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Re: Recent Professional Works
« Reply #3795 on: October 05, 2012, 03:38:22 pm »

It is just Professional Photography in the Digital World.
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Antonio Chagin
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george2787

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Re: Recent Professional Works
« Reply #3796 on: October 05, 2012, 04:53:15 pm »


Contax p21+

BC


Bcooter, is he photoshopped in? I'm feeling it a little strange. But love the general ambient.
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MichaelEzra

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Re: Recent Professional Works
« Reply #3797 on: October 05, 2012, 08:19:36 pm »

The character, light and post, all look very coherent.
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David Eichler

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Re: Recent Professional Works
« Reply #3798 on: October 05, 2012, 08:23:39 pm »

I agree with Scott, it's more professional to do it in camera, although sometimes it could be painful.

To complement the above comments I would suggest avoiding the blue light (daylight) hitting the right side of the steel parts.

It could be intentional but I think it contaminates the very clean otherwise. Just desaturating the blue would be enough.

ACH

In my opinion, it is only the end results that matters to the viewer. With all of the tools digital provides, I don't see why one method is more professional than another, unless, as Scott points out, you need to show an on-site client something that is pretty close to the finished result. Techniques such as Scott uses work fine for his style, clientele and temperment, but I would not want to be limited to just "getting it right" in camera when digital offers so many additional creative and problem-solving opportunities. In the end, though, what I still prefer above all is great ambient lighting, often just daylight. I just dont think you can beat the sun as a light source.

As for the blue reflections in Scott's photo, I like them because I think they provide a bit of color contrast. Nothing wrong with blue color casts, in my opinion, if used appropriately to suggest blue sky reflections or twilight.

Kind of curious, these days, for still photography, how many are correcting mixed lighting at the source, as opposed to later on in post?
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ACH DIGITAL

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Re: Recent Professional Works
« Reply #3799 on: October 05, 2012, 10:41:09 pm »

In my opinion, it is only the end results that matters to the viewer. With all of the tools digital provides, I don't see why one method is more professional than another, unless, as Scott points out, you need to show an on-site client something that is pretty close to the finished result. Techniques such as Scott uses work fine for his style, clientele and temperment, but I would not want to be limited to just "getting it right" in camera when digital offers so many additional creative and problem-solving opportunities. In the end, though, what I still prefer above all is great ambient lighting, often just daylight. I just dont think you can beat the sun as a light source.

As for the blue reflections in Scott's photo, I like them because I think they provide a bit of color contrast. Nothing wrong with blue color casts, in my opinion, if used appropriately to suggest blue sky reflections or twilight.

Kind of curious, these days, for still photography, how many are correcting mixed lighting at the source, as opposed to later on in post?

Well two different questions. First as you all know, what you see in location is not what the camera sees, so the quotation that ït is natural" doesn't really is. When you see a slight tint of blue in real live it translate into a deep blue as you are balancing for tungsten. So it is never natural.
In my case if I can deal with it in camera at location, is faster and easier. If I can not then I'd do it in post.

Some clients allow for more natural reflections and mix lighting, others just don't allow for it. Some clients like little retouching, others ask for a lot.

The problem with mix lighting is that, as I said before was not that intense in real as it shows in film or digital. So for me in this case I would try to avoid or lower its intensity at location or in post, what ever is handy to me.
See this example, first the untouched image then the final. That blue was never like that for real, so it has to be solved.



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Antonio Chagin
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