I would have sworn the first shot was done with the Phase,
I like talking about photography . . . sometimes, I even like talking about cameras . . . sometimes.
One of the reasons I started this thread was to get away from the pixel counting, ca, dr, 4:3, 2:3 type of talk that never seems to go anywhere.
Photography is just about the photograph, not a lot more and if the viewer likes it it works if they don't, it doesn't.
I'm not brand specific, but I do like the Canons, mostly because I like the color.
I usually have a way of working that I try not to over light or better put impose a specific lighting style to the photograph. Sometimes that's impossible to do with commerce, or working in studio, because in studio there isn't much to do other than direct the subject and light it.
Location, I like to find what is there and just make that work, so I only use additional light because I need it to make it work.
In other words I don't want someone to think, wow he must have used a gilflop 1280 with a big moola 44" beauty dish, with the special, silk cut, hand woven diffuser.
I shot this with the 1ds3, the 50mm 1.2 at around f 2 point, something, about 1/60th, 800 iso. (I think).
This shot was there. I saw it, ask the model to move over a little, and then just added a flex fill behind my head (basically because I'm pressed against a wall in a small room.
I might have used a fraction of tungsten bounced, probably off a cealing, but just a tiny, tiny fraction, and just enough so the face wouldn't go to hard lost shadows, though in reality the key light is the juke box and a very dim window light behind the model and to the left of the juke box.
This shoot was in Mid May after we shot a commercial gig in our Dallas studio. I had crew in so I held them over for another day and we shot this series, three locations in about 5 hours. The crew wasn't huge, had three assistants, stylist, prop stylist and makeup artist and could have had less help, except I had one person ahead of us moving equipment into the next shot.
It was editorial, we had a letter of intent, but in the world of editorial nobody knows anymore if anything will run, so in reality t it was for us, actually every photograph should be for us. around
This is what all of us love. No pressures of client committees, or fitting anything to a preconceived idea. Just shoot and have fun. The last location was this bar, a funky place called Lee Harvey's in Dallas, they allow dogs, everybody is having a great time, people come over when you shoot, look at the images in the computer, laugh, drink, make comments, after we shoot, everyone keep on partying, even back to our studio until 3 am.
We had a discussion earlier of working in different places in the world and I could have shot this in a lot of places, but I love working in Dallas. No hassels of permits, nobody requiring 22 letters of intent, and 12 insurance bonds. People say uh sure, just pay the bar tab.
P.S The 50mm I have is kind of screwed up looking. I got the front of the lenshade caught on a piece of foam core in Korea and it pulled the front retaining ring off
Now it kind of moves around a little but it works fine and now looks like a pancake lens with a silver ring on the front. I thought about sending it in, but I like the way it looks and it works so I just leave it alone
I guess eventually all the elements will fall to the floor, but until then it's kind of cool looking.