Recent Professional Works

[Abdulrahman Aljabri]

Single exposure; 5dMii, 24mmTS, some strobe & some continuous light.

very good picture. I would have pulled the planet a little more to the right. How many light you used? did you use 24ts mk1 or mk2?

[Scott Hargis]

Abdul, thanks. There's a lot about the styling that I don't like. My own impulse is to move the plant to the <b>left</b> a little. And the Eames chair, as well. Unfortunately I was on my own for this; my client (design/build) had already gone home for the night.

I'm using the 24TS mII. Best lens I've ever used. This was made last fall; I remember 6 lights for sure, could have been one more.

[Abdulrahman Aljabri]

Abdul, thanks. There's a lot about the styling that I don't like. My own impulse is to move the plant to the <b>left</b> a little. And the Eames chair, as well. Unfortunately I was on my own for this; my client (design/build) had already gone home for the night.

I'm using the 24TS mII. Best lens I've ever used. This was made last fall; I remember 6 lights for sure, could have been one more.

it does look like you had a lot of lights, how did you manage to set them all up just in time for the right ambient light?

[Scott Hargis]

Abdul, we started early. We spent maybe 60 minutes setting up, 30 minutes tweaking things, and 20 minutes or so waiting for the perfect light. I also have a quasi-daylight version of this that I was able to salvage from an early exposure, with a lot of "rescue" post processing.

[Abdulrahman Aljabri]

Abdul, we started early. We spent maybe 60 minutes setting up, 30 minutes tweaking things, and 20 minutes or so waiting for the perfect light. I also have a quasi-daylight version of this that I was able to salvage from an early exposure, with a lot of "rescue" post processing.

You basically setup all your lights before sunset? It's very difficult to setup lights for a night scene when working in daylight, because you can't exactly see what the lights are doing. Plus when the perfect sunset moment comes I find my self scrambling to adjust lights before missing out the sky view.  One thing I thought about to counter this problem is to 1. setup the camera and prepare the space in advance 2. capture the perfect window view  3. adjust the lights without worrying about the time 4. add the window view in post.

[Scott Hargis]

You basically setup all your lights before sunset? It's very difficult to setup lights for a night scene when working in daylight, because you can't exactly see what the lights are doing. Plus when the perfect sunset moment comes I find my self scrambling to adjust lights before missing out the sky view.  One thing I thought about to counter this problem is to 1. setup the camera and prepare the space in advance 2. capture the perfect window view  3. adjust the lights without worrying about the time 4. add the window view in post.

80% of the lighting is in place before the sun hits the horizon. I try to have a pretty detailed vision in my mind for how the shot should look, so it's not too hard to figure out light placements. Wattage is another matter; that's what's being tweaked as the ambient light starts dropping.

[Rob C]

Kodachrome 64 Pro converted to b/white.

Client: Hewden/Stuart Group plc.

Rob C

[JoeKitchen]

Shot this a couple of days ago.  ISO 100, 30s at f/11 with a linear polarizer.  Use a good deal f additional lights, but turned them off at different times throughout the exposure.  I did a general raw processing for the entire image, then did a raw processing customized for the stage and dropped it in. 

[haefnerphoto]

Kodachrome 64 Pro converted to b/white.

Client: Hewden/Stuart Group plc.

Rob C

Love it!!

[SecondFocus]

This really is superb!

Kodachrome 64 Pro converted to b/white.

Client: Hewden/Stuart Group plc.

Rob C

[Kirk Gittings]

Amazing the feedback a couple of perky nipples will get

[SecondFocus]

Actually I am just in awe of the tonality of the black and white conversion from Kodachrome. It is just beautiful!

And it is exactly my kind of subject matter

Amazing the feedback a couple of perky nipples will get

[Eric Myrvaagnes]

Amazing the feedback a couple of perky nipples will get

Makes one wonder why architects doon't put a couple on every building. 

[Kirk Gittings]

Makes one wonder why architects doon't put a couple on every building. 

[Rob C]

Makes one wonder why architects doon't put a couple on every building. 

Look at the Carlton in Cannes and the Negresco in Nice.

;-)

Rob C

[Rob C]

Thanks, haef 'n' Second; praise indeed from you guys!

Yes, I've often thought that in the right light, Kodachrome was preferrable to any b/w film for the look that I currently like in b/w prints. Partly, I think it's down to the exposure methodology used: incident light readings based on retaining important highlights. The problem I face converting from Kodachrome is scanning: I'm not very clever with that, and have a simple CanoScan which I'm sure I don't use to its best advantage, as it is.

Oh well, it was all fun whilst it lasted!

Thanks again,

Rob C

[KLaban]

Rob, it certainly is a lovely conversion.

[Rob C]

Thank you, Keith; it owes a lot to the model, Denise Denny.

Unusual sort of beauty, and amazing actual sex-appeal. We were staying in a small Nassau hotel (Pilot House) near the Paradise Island Bridge, and I remember one evening when she, the other girl (probably more pretty) and my wife and I walked into the bar. I can tell you (though I didn't really notice at the time) that my wife later informed me that every eye in that place was instantly drawn to Denise.

The things women can notice in an instant.

Rob C

[ChristopherBarrett]

You basically setup all your lights before sunset? It's very difficult to setup lights for a night scene when working in daylight, because you can't exactly see what the lights are doing. Plus when the perfect sunset moment comes I find my self scrambling to adjust lights before missing out the sky view.  One thing I thought about to counter this problem is to 1. setup the camera and prepare the space in advance 2. capture the perfect window view  3. adjust the lights without worrying about the time 4. add the window view in post.

Abdul, the best way to handle that is to cover all the windows with black while setting up the shot.  Then you can get the light level perfect.  In a traditional dusk view like this, you should be getting almost no ambient daylight when you finally expose.  We typically uncover the windows 30-40 minutes prior to dusk and spend that time hiding reflections.  When the window reaches the desirable brightness level you should be ready to go.

Cheers,
CB

[pixjohn]

I just use experience shooting dusk. Years of lighting I can guesstimate what light, how much if any scrims  and when its time to shoot, just tweak the lights.