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Author Topic: Re: Recent Professional Works 2  (Read 241326 times)
Kirk Gittings
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« Reply #760 on: September 26, 2013, 02:19:58 PM »
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I guess I was asking more in terms of interiors...I know you wouldn't have the lens if you didn't think it worked, but are you seeing any of the issues that I mentioned? I think the Canon 24 is really the gold standard for me and I tend to hold other lenses to that, which is kind of unrealistic, I suppose.

Scott, You missed my humor. A single capture image that looks like crap in terms of CA and soft corners can become acceptable when you then build the image from 3 frames even from the same lens and camera and only print it to 11x14. Yes the lens is very mediocre.
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Thanks,
Kirk

Kirk Gittings
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Scott Hargis
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« Reply #761 on: September 26, 2013, 03:35:44 PM »
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Haha! Whew!
I respect both you and your work, and if you were going to tell me that this lens was something great I was really going to question my sanity! Or maybe yours....

Thanks for clarifying.
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ACH DIGITAL
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« Reply #762 on: September 26, 2013, 04:09:04 PM »
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Very Nice work Scott. Congrats on the Schneider Super Angulon 50mm. Quite some money there.
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Antonio Chagin
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Harold Clark
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« Reply #763 on: September 26, 2013, 04:23:05 PM »
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For b&w I actually don't find digital any easier. Convenient yes on the capture side, but more work in post to get the tones I want.

Kirk, do you still print negatives conventionally, or do you print only digitally now?

Harold
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Kirk Gittings
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« Reply #764 on: September 26, 2013, 04:40:15 PM »
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Kirk, do you still print negatives conventionally, or do you print only digitally now?

Harold

Traditional silver, Piezography and silver via digital files from a couple of labs.
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Kirk

Kirk Gittings
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WWW.GITTINGSPHOTO.COM

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epines
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« Reply #765 on: September 26, 2013, 09:53:09 PM »
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Recent personal / portfolio series. The first one is coming out in Workbook in the next week or two. It's a single capture, H3DII-39, HC 50mm lens.

The shoot was a ton of fun, but it's also hell shooting that close to the tide. Sand gets in everything. The water occasionally comes much higher than you expect, potentially drenching gear. Whether the tide is rising or receding, you're constantly moving the talent and lights with it.
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NickCroken
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« Reply #766 on: September 27, 2013, 11:59:55 AM »
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Great shots Ethan! 
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epines
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« Reply #767 on: September 27, 2013, 10:10:47 PM »
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Thanks! I put them through some retouching too, but I try to get as much in-camera as I can. The octopus and seagull were there in the (fake / stuffed) flesh. One of the perks of being in L.A. -- amazing FX and wardrobe houses, plus a very expensive taxidermist.
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Chris Barrett
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« Reply #768 on: October 01, 2013, 10:12:08 PM »
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A grab from a new short film we're just about to wrap on...



CB
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heinrichvoelkel
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« Reply #769 on: October 02, 2013, 03:13:11 AM »
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For b&w I actually don't find digital any easier. Convenient yes on the capture side, but more work in post to get the tones I want.

Absolutely true, b&w film is easier to handle after the capture than digital.
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bcooter
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« Reply #770 on: October 02, 2013, 04:41:36 AM »
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Olympic Gold Medalist Sanya Richards for motion and ad series.

BC
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Professional
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« Reply #771 on: October 02, 2013, 06:18:05 AM »
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Olympic Gold Medalist Sanya Richards for motion and ad series.

BC

Nice shot, but i have 2 comments:

1. Is that flare on face a good idea? I like the sun flare if it is there without getting on the face, but maybe some like it this way i dunno.

2. It will be better if her left foot is shown fully rather than it is cropped.

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bcooter
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« Reply #772 on: October 02, 2013, 10:23:45 AM »
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It is what it is.  No retouching, other than some curve adjustments a a little skin cleanup.

That's just the face the flare exactly on the file.

That's what they wanted, that's what we did.

BC
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epines
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« Reply #773 on: October 02, 2013, 11:37:55 AM »
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bcooter: Nice -- love the flare, the warm/reddish tones, the motion that the lines in the track lend to the shot.

Assistant holding large Sun-Bounce?
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bcooter
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« Reply #774 on: October 02, 2013, 12:01:03 PM »
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bcooter: Nice -- love the flare, the warm/reddish tones, the motion that the lines in the track lend to the shot.

Assistant holding large Sun-Bounce?

Assistants running with multiple shiny boards.

Hey better them than me.

BC

P.S.  In regards to adding the other foot, it's not in this frame, is in others so an easy retouch, except the look, at least the creative brief I get today is for more real, less manicured.

I like real . . . I guess.
« Last Edit: October 02, 2013, 12:03:01 PM by bcooter » Logged

epines
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« Reply #775 on: October 02, 2013, 12:08:56 PM »
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Same deal here, regarding less manicured shots -- My rep wants me to put a new lifestyle section on my website with looser, less-planned, less-perfected shots, since everything these days is following that Instagram style. Just not sure if it's a good idea to follow trends. By the time I've shot and finished new work, and made that gallery section a known presence in the marketplace, I might look like just another photographer shooting that kind of imagery. A while back, people wanted the Jim Fiscus look, then the Jill Greenberg look, then the Erik Almas look ... et cetera. The danger with chasing every trend is, you're always a bit behind the curve, and and you're never doing what's in your heart. (cooter -- I'm not implying you're doing this; I'm just voicing my thoughts I've had on the matter.)

ethan
 
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bcooter
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« Reply #776 on: October 02, 2013, 12:25:46 PM »
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Same deal here, regarding less manicured shots -- My rep wants me to put a new lifestyle section on my website with looser, less-planned, less-perfected shots, since everything these days is following that Instagram style. Just not sure if it's a good idea to follow trends. By the time I've shot and finished new work, and made that gallery section a known presence in the marketplace, I might look like just another photographer shooting that kind of imagery. A while back, people wanted the Jim Fiscus look, then the Jill Greenberg look, then the Erik Almas look ... et cetera. The danger with chasing every trend is, you're always a bit behind the curve, and and you're never doing what's in your heart. (cooter -- I'm not implying you're doing this; I'm just voicing my thoughts I've had on the matter.)

ethan
 

Naw I get it.  Every agent wants you to broaden your repretioire, but hey they sell, they get use to what they see and kind of forget that not everybody they show is as bored with it as they are and I can elaborate on this, but I'd get in trouble.

Anyway, I did a video that was shot with stills and a really "real" look a while back, it still pulls work and well . . . a gigs a gig man.

video

Not to go of topic, but I really resist being put in a category like a brand of soap.   I dunno, I find most of it is just silly.

When we shot lingerie/inner-wear (what a strange name) we shot for the 4 largest companies in the world and two we're completely positive we only shot men, for the other two it was women.

Silly, but you just roll with it.

Personally if I just had to shoot one thing, either motion or still I'd go crazy.  It just seems boring and after a while you just can't get out of it.

After all still photography is just subject, light and background.  Always is and shooting "real" (what the heck is real?) or manufactured it's all kind of the same.

Most people will disagree, but hey, that doesn't matter.  It matters if you work.

The only thing I don't want to do is subjects that don't breath.   I just fall asleep.


IMO

BC
« Last Edit: October 02, 2013, 12:42:42 PM by bcooter » Logged

epines
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« Reply #777 on: October 02, 2013, 01:39:20 PM »
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Naw I get it.  Every agent wants you to broaden your repretioire, but hey they sell, they get use to what they see and kind of forget that not everybody they show is as bored with it as they are and I can elaborate on this, but I'd get in trouble.

Anyway, I did a video that was shot with stills and a really "real" look a while back, it still pulls work and well . . . a gigs a gig man.

video

Not to go of topic, but I really resist being put in a category like a brand of soap.   I dunno, I find most of it is just silly.

When we shot lingerie/inner-wear (what a strange name) we shot for the 4 largest companies in the world and two we're completely positive we only shot men, for the other two it was women.

Silly, but you just roll with it.

Personally if I just had to shoot one thing, either motion or still I'd go crazy.  It just seems boring and after a while you just can't get out of it.

After all still photography is just subject, light and background.  Always is and shooting "real" (what the heck is real?) or manufactured it's all kind of the same.

Most people will disagree, but hey, that doesn't matter.  It matters if you work.

The only thing I don't want to do is subjects that don't breath.   I just fall asleep.


IMO

BC

Holy moly -- that's a lot of stills. Nice video.

A gig's a gig, indeed. I had a discussion with my lady about all this, and we came to the same conclusion.

About being put in a category -- I hear you, but in my experience, agencies often want to know what to hire me for. I'm not at the level you're at in the industry, and so far it seems like it's been in my interest to specialize a bit more. If it were just up to me, I'd be shooting a greater variety of things. I love it all -- portraits, conceptual productions, moody series, quirky documentary work from traveling, spontaneous moments, film-noir series, urban landscapes, etc. Yes, stills can start feeling like just subject-light-background, but I'm still having a good time taking my conceptual / produced shoots to the next level. Sometimes I fear I might be chasing a part of the ad world that's already gone, but I'm maintaining faith that there's still a need for that kind of work.
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MichaelEzra
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« Reply #778 on: October 03, 2013, 06:46:23 AM »
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A Mamiya ZD frame from 2011, just developed


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slackercruster
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« Reply #779 on: October 03, 2013, 07:14:57 AM »
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A Mamiya ZD frame from 2011, just developed




Beautiful work.

She has a wonderful symmetrical body. I love the 3 ribs! One of the best studies in gray tones I've seen.

Why did it take so long to bring to light?
« Last Edit: October 03, 2013, 07:28:31 AM by slackercruster » Logged
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