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Author Topic: Re: Recent Professional Works 2  (Read 188890 times)
Aphoto
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« Reply #520 on: June 14, 2013, 01:49:43 PM »
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Casa Salis

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Best, Adrian // www.adrianschulz.com
Rob C
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« Reply #521 on: June 14, 2013, 02:28:55 PM »
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Kodachrome rescued - more or less - from a shoot in Greece.

Don't think I posted it before.

Rob C
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jsch
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« Reply #522 on: June 14, 2013, 02:50:00 PM »
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I don't typically shoot weddings but had the opportunity to shoot a friends wedding last weekend.  These are a couple of the images that I like as plow through the processing.

Hi,

once a friend from Hull (UK) said to me: Never trust a man with a white Porsche.

Best,
Johannes
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jsch
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« Reply #523 on: June 14, 2013, 02:51:53 PM »
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Kodachrome rescued - more or less - from a shoot in Greece.

Don't think I posted it before.

Rob C

Hi Rob,

you made my day! Thank you.

Give us more oft this.

Best,
Johannes
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TMARK
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« Reply #524 on: June 14, 2013, 03:01:09 PM »
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Kodachrome rescued - more or less - from a shoot in Greece.

Don't think I posted it before.

Rob C

Beautiful. 
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Rob C
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« Reply #525 on: June 14, 2013, 04:32:50 PM »
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Thank you, gentleman, made my day in turn!

;-)

Rob C
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Kirk Gittings
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« Reply #526 on: June 14, 2013, 04:36:10 PM »
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Kodachrome rescued - more or less - from a shoot in Greece.

Don't think I posted it before.

Rob C

Dam...............nation!
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Thanks,
Kirk

Kirk Gittings
Architecture and Landscape Photography
WWW.GITTINGSPHOTO.COM

LIGHT+SPACE+STRUCTURE (blog)
Chris Barrett
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« Reply #527 on: June 14, 2013, 05:34:03 PM »
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Hi CB,

Really beautiful.  If I may ask a few questions about your workflow.  (This is in regards to your office and NEOCON photography)

Do you do your own postproduction work?  Just curious to know how many layers do you typical work with?

I really appreciate how you manage the various color temperatures (strobes vs hot lights vs daylight).  Do you balance every to daylight 5500k on the location or correct the colors in post in layers?

Your style really allows the architecture and furnishings to shine.  Cool and crisp.  I can really tell you are very graceful under pressure!

Thank you for sharing.

regards,
jeffery


Thanks, Jefferey.  As for color, I go with whatever the dominant ambient light source is.  This space was lit with florescent and tungsten track lights.  It all balanced out to about 2700k and a little green.  I don't carry a color meter, we just white balance the first capture and go from there.

So, the Dedos were straight tungsten, the Strobe and HMI had Full CTO and I think we had 1/8 or 1/4 Plus Green on everything.

We mix up our sources all the time with no regard to their native color balance and we just gel to match.  I carry CTO, CTB and Plus Green in 1/8, 1/4, 1/2, 3/4 and Full.  That usually gets me through any situation.

CB

Edit:  Yeah, I do my own post.  In the time it takes me to mark up notes for the retoucher (and I have a really good guy here in Chicago) I could have just done it myself.  I've become petty damn quick with Photoshop and reasonably skilled.  For this set of images, I've just done a quick round of work.  Next I'll ftp the High Res to the client's server and they'll work directly with my retoucher for any additional work.

Yada Yada.
« Last Edit: June 15, 2013, 10:09:27 AM by Chris Barrett » Logged
fredjeang2
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« Reply #528 on: June 15, 2013, 05:29:26 AM »
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Thanks, Jefferey.  As for color, I go with whatever the dominant ambient light source is.  This space was lit with florescent and tungsten track lights.  It all balanced out to about 2700k and a little green.  I don't carry a color meter, we just white balance the first capture and go from there.

So, the Dedos were straight tungsten, the Strobe and HMI had Full CTO and I think we had 1/8 or 1/4 Plus Green on everything.

We mix up our sources all the time with no regard to their native color balance and we just gel to match.  I carry CTO, CTB and Plus Green in 1/8, 1/4, 1/2, 3/4 and Full.  That usually gets me through any situation.

CB



That was very interesting, along
With the light set-up pic.
I'd like to see those posts
More often.
Thanks Chris.

Ps: are you going to the Madrid festival ?
Maybe Rob could move his bottom
From the island beaches and we
All meet there. That would be a gas.
« Last Edit: June 15, 2013, 05:32:44 AM by fredjeang2 » Logged
Jeffery Salter
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« Reply #529 on: June 15, 2013, 01:14:37 PM »
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Thanks, Jefferey.  As for color, I go with whatever the dominant ambient light source is.  This space was lit with florescent and tungsten track lights.  It all balanced out to about 2700k and a little green.  I don't carry a color meter, we just white balance the first capture and go from there.


It amazes me how much science and good technical skills go into our art form. It's a fun rabbit hole of learning shooting and shooting and learning.

Thanks again for sharing.
Jeffery
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Jeffery Salter
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Loving life one frame at a time.
kikashi
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« Reply #530 on: June 16, 2013, 04:09:50 AM »
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It amazes me how much science and good technical skills go into our art form. It's a fun rabbit hole of learning shooting and shooting and learning.

Absolutely right! And yet there are some here who are offended by being asked the square root of 16 when registering. Bizarre.

Jeremy
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Eric Myrvaagnes
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« Reply #531 on: June 16, 2013, 11:48:52 AM »
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Absolutely right! And yet there are some here who are offended by being asked the square root of 16 when registering. Bizarre.

Jeremy
Ah, but asking for the square root of 25 would be a different story!   Roll Eyes


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-Eric Myrvaagnes

http://myrvaagnes.com  Visit my website. New images each season.
Rob C
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« Reply #532 on: June 16, 2013, 12:20:18 PM »
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Ah, but asking for the square root of 25 would be a different story!   Roll Eyes





Doesn't count: you have to limit these trick questions to straight twelve-times tables!

Rob C
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Rob C
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« Reply #533 on: June 16, 2013, 12:23:53 PM »
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This is a very difficult type of technical shot: it means calculating the wind speed, the model's drift and the photographer's compensatory shake.  Actually, it ends up a bit like sailing.

Definitely more Gram Parsons than Chuck Berry.

Rob C
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jsch
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« Reply #534 on: June 16, 2013, 12:42:33 PM »
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This is a very difficult type of technical shot: it means calculating the wind speed, the model's drift and the photographer's compensatory shake.  Actually, it ends up a bit like sailing.

Definitely more Gram Parsons than Chuck Berry.

Rob C

Rob, Rob, Rob,

you surprise me. How could you crop the window in this architectural image?

The girl has a bit of an awkward position and the dress is strange. But I like the image anyway.

Best,
Johannes
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Rob C
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« Reply #535 on: June 16, 2013, 02:55:58 PM »
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Rob, Rob, Rob,

you surprise me. How could you crop the window in this architectural image?

The girl has a bit of an awkward position and the dress is strange. But I like the image anyway.

Best,
Johannes


I was using the built-in level of the camera, but didn't realise until later that it was front-focussing a little bit. Obviously, that's what happens in such cases. No proper QC these days. Must buy a Leica.

The awkward position comes from her being hungry. The dress was from Bob Dylan's early line: Blowin' in the Wind. Wonderful label.

Rob C
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MichaelEzra
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« Reply #536 on: June 16, 2013, 11:18:41 PM »
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Just developed this one. From my 1-st DMF shoot when I rented H1 with Leaf 22MP. The shoot was with a gorgeous model I worked a year before, but she was kind enough to bring a long a body builder this time:)


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Rob C
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« Reply #537 on: June 17, 2013, 03:14:06 AM »
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Michael, where's the girl? Forget the guy - he's for the birds, or at least the ones who dig bodybuilders.

;-)

Rob C
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MichaelEzra
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« Reply #538 on: June 17, 2013, 06:42:40 AM »
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She is right here:)

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MichaelEzra
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« Reply #539 on: June 17, 2013, 08:47:08 AM »
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And here they are together of course:

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