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Author Topic: Re: Recent Professional Works 2  (Read 290110 times)
Rob C
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« Reply #620 on: August 17, 2013, 02:26:33 AM »
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Yes, But I look like Ansel Adams for pete's sake! Smiley


Well, there's no answer to that!

;-)

Rob C
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HarperPhotos
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« Reply #621 on: August 17, 2013, 02:35:07 AM »
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Hello,

Shot a couple of weeks ago for Hyundai.

Background image was supplied and the car was shot in my studio using a Nikon D800E attached to a Horseman VCC adaptor and a Rodenstock 105mm Apo Rodagon lens and Dedo lights. My assistant Renee and I took turns sitting in the car playing the driver. Its me in the shot.

Ciao

Simon
« Last Edit: August 17, 2013, 04:58:16 AM by HarperPhotos » Logged

Simon Harper
Harper Photographics Ltd
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Auckland, New Zealand
JoeKitchen
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« Reply #622 on: August 17, 2013, 11:36:20 AM »
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Hello,

Shot a couple of weeks ago for Hyundai.

Background image was supplied and the car was shot in my studio using a Nikon D800E attached to a Horseman VCC adaptor and a Rodenstock 105mm Apo Rodagon lens and Dedo lights. My assistant Renee and I took turns sitting in the car playing the driver. Its me in the shot.

Ciao

Simon

Very nice Simon.  Funny, you writing that you were in the shot hand me doing a double take, until I realized that the steering is on the other side than here in the States.  
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Joe Kitchen
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"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
“Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”  William Faulkner
DanielStone
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« Reply #623 on: August 17, 2013, 11:47:45 AM »
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Hello,

Shot a couple of weeks ago for Hyundai.

Background image was supplied and the car was shot in my studio using a Nikon D800E attached to a Horseman VCC adaptor and a Rodenstock 105mm Apo Rodagon lens and Dedo lights. My assistant Renee and I took turns sitting in the car playing the driver. Its me in the shot.

Ciao

Simon

Hey Simon,

quick question for ya, if I may:

What's YOUR feel on the use of a "supplied" image of sorts, but then taking a separately-shot/lit car and comping it in? I know it's now a "default" practice for many in the automotive industry, but as a photographer and not just a consumer looking at pretty ad shots I'm left feeling a bit cold, so to speak.

Do you ever do rig shots? I know that many have shied away from them in the few past years due to the time involved, and the rush of modern-day shooting and budgetary constraints. But shooting both the car & background simultaneously (I've found, working on a few car jobs in the past) seems to have less of a "cut and paste" feel.

Again, just my sentiments on the issue as a whole. The lighting on the car is nice btw Smiley

-Dan
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HarperPhotos
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« Reply #624 on: August 17, 2013, 02:48:29 PM »
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Hi Dan,

To be honest been in a nice warm studio in stead of a cold freezing South Island road with a team of ten people and a camera rig plus all the hassle of dealing with councils to get road permits and safety certificates as well as traffic control staff does not appeal to me. I know what you are saying but as you have mentioned it is all about money.

With fantastic software like Virtual Rig I personally can not see any reason way you would want to use a camera rig system as they are expensive, time consuming, cumbersome just unnecessary for still photography and you have to contend with the weather which is always unpredictable in winter in New Zealand. For video there is definite advantages in using a camera rig.

http://www.virtualrig-studio.com/

That Hyundai took me 4 hours to shoot compared to at lease a four day shoot on location. Personally I would have retouched the shot with more reflections of the surroundings in the car but those decisions are made by other people.

I have a couple of images I did of an Aston Marin DBS which I will releasing in a couple of weeks which was a personal project. My brief to the retoucher was Tim Burton, Batman, Gotham City, Sleepy Hollow look and I let him loss. Personally I think he hit it on the head perfectly so stay tuned.

Ciao

Simon
« Last Edit: August 17, 2013, 08:52:43 PM by HarperPhotos » Logged

Simon Harper
Harper Photographics Ltd
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Auckland, New Zealand
David Eichler
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« Reply #625 on: August 19, 2013, 01:31:36 AM »
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Rob, I was living there for the summer. It took half the summer to get a phone call returned. PLUS as I said they would not return my clients calls either (their neighbor). Nor could I just "walk in" and talk to the right person-tried that and got nowhere.

A similar thing happens when trying to get my architectural photography class access to buildings to do some photography. No problem in the SW-huge problem in Chicago.

Were you offering a significant amount of money to use their property? If not, what is their incentive to be responsive to you? Can't imagine they would have any interest in photos of a neighboring building, unless they happen to own or manage it as well.
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David Eichler
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« Reply #626 on: August 19, 2013, 01:41:25 AM »
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I am in the process of "relocating" to NYC from Philly and, of course, need to change branding a little.  Shot these two Sunday; although I wish I had sun, I think they came out ok.  Both shot with the Rodie 55, which I am also trying to use more often too.  



Excellent views. Color balance seems on the cool side to me for both, on my monitor. The left one seems a bit blue overall, with maybe a hint of magenta or purple in the highlights, and the right one looks positively purple to me, especially the sky.
« Last Edit: August 19, 2013, 01:44:17 AM by David Eichler » Logged

MrSmith
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« Reply #627 on: August 19, 2013, 03:54:31 AM »
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some recent work. couple of shots for one of the U.K's biggest retailers and a small bespoke racing bike company.
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Kirk Gittings
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« Reply #628 on: August 19, 2013, 09:56:02 AM »
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Its called smart business. My client does a significant amount of business with them.
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Kirk

Kirk Gittings
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TMARK
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« Reply #629 on: August 19, 2013, 01:41:19 PM »
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From what I can tell, and I may be wrong, they won't even return the call to accept a large sum of money or to say no.  That is obnoxious. 

Were you offering a significant amount of money to use their property? If not, what is their incentive to be responsive to you? Can't imagine they would have any interest in photos of a neighboring building, unless they happen to own or manage it as well.
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Slobodan Blagojevic
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« Reply #630 on: August 19, 2013, 01:52:44 PM »
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Were you offering a significant amount of money to use their property? If not, what is their incentive to be responsive to you?...

The little, obscure thing formerly known as 'common courtesy'? Let alone 'professional courtesy.'
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Slobodan

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Rob C
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« Reply #631 on: August 20, 2013, 02:40:52 AM »
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The little, obscure thing formerly known as 'common courtesy'? Let alone 'professional courtesy.'


Goddamit Slobodan, you must be almost as ancient as am I in order to remember such niceties!

The reality? It's just another part of that long-lost Golden Age that the children amongst us deny existed.

;-)

Rob C
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JoeKitchen
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« Reply #632 on: August 20, 2013, 06:24:05 PM »
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Shot this today.  Almost fresh out of the camera; I spent about 5 to 10 minutes in PS on it.  We used 6 strobes and 2 hot lights.  
« Last Edit: August 20, 2013, 06:26:03 PM by JoeKitchen » Logged

Joe Kitchen
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"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
“Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”  William Faulkner
JoeKitchen
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« Reply #633 on: August 22, 2013, 04:39:22 PM »
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Spent yesterday and today (and going back tonight and a day next week) in the new Ben Franklin Museum in Philly.  The interior designer (out of London) needs a couple asap, so I just worked on this one. 

Off to shoot some more. 
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Joe Kitchen
www.josephmkitchen.com

"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
“Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”  William Faulkner
SeanBK
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« Reply #634 on: August 23, 2013, 06:13:32 PM »
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Joe K, I always enjoy your technically perfect interior shots. Do you mind sharing the Metadata > Camera, lens, f-stop, shutter speed & any supplemental lights, if u terribly wouldn't mind, I'd appreciate it. Thnx. Smiley
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HarperPhotos
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« Reply #635 on: August 24, 2013, 12:17:31 AM »
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Hello,

My first attempt at using my home made strip light. Its 5 meters long, 60cm wide and uses 3 strips of LED’s.

This shot is straight out of the camera.

Cheers

Simon
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Simon Harper
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alatreille
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« Reply #636 on: August 24, 2013, 12:39:08 AM »
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Hi Simon,

Very soft light......

I'm interested to hear your experiences in colour balancing these.  Did you use any supplementary lights?

We light the inside of this model with tungsten balanced LED's and there was strobes gelled to tungsten lighting the exterior - not totally balanced.
If anyone is interested, the model maker is www.scaleart.ca
They also work in the US and are amazingly talented.

Cheers
A.L
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Between the Buildings
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HarperPhotos
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« Reply #637 on: August 24, 2013, 12:55:16 AM »
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Hello,

The strip light is the only light sources in the shot.

I did have to use gels to balance the LED’s to the same colour temperature as my Dedo lights. So in the future I can combine the different lights together.

Cheers

Simon
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Simon Harper
Harper Photographics Ltd
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JoeKitchen
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« Reply #638 on: August 24, 2013, 08:40:20 AM »
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Joe K, I always enjoy your technically perfect interior shots. Do you mind sharing the Metadata > Camera, lens, f-stop, shutter speed & any supplemental lights, if u terribly wouldn't mind, I'd appreciate it. Thnx. Smiley
Hello Sean, thanks for the compliments.  Both shots were captured with a P45+ on an Arca Swiss using a SK 35mm lens with the CF.  I was shooting at f/11 for both.  The first shot that I posted was a little hairy and complicated, so get ready. 

This was an office interior in an old building; most of the walls where white and helped a lot.  I used 6 strobes and two hot lights for this image.  For strobes, I placed one at the left of camera bouncing off of the wall, one at the right of the camera bouncing into that little out cove.  I had one directly above the camera with a 30 degree grid projecting into the shot.  A fourth was placed behind that out cove bouncing off of the wall on the right.  Fifth one was reflecting out of an umbrella by the cubicles.  The last one was behind were the chairs are, bouncing off of the floor and kitchen area.  All strobes were gelled with 1/2 CTO; the strobe with the grid also had a full diffusion gel behind the grid.  The hot lights were hitting the chair to the right and the group of chairs in front of the camera.  When I work with strobes, I balance the shot as much as I can at ISO 200.  Then throw on a device that allows me to control manually the length of the exposure, sync the pocket wizards to the Copal shutter and drop the ISO to 50.  This allows me to do multiple exposures.  I do not remember the shutter speed, but this shot was 6 multiple exposures (I think, it could have been 5) at ISO 50. 

I can explain the second one later; I have a shoot to go to.
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Joe Kitchen
www.josephmkitchen.com

"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
“Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”  William Faulkner
JoeKitchen
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« Reply #639 on: August 24, 2013, 08:45:21 PM »
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Did I say how much I love working with Phase backs!

Last shot of the day, Rodie 55mm at f/11.  Single capture using 5 tungsten lights.  Only opened it in PS to remove an EXIT sign.  
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Joe Kitchen
www.josephmkitchen.com

"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
“Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”  William Faulkner
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