Not really. I use ISO 50 because I often shot my medium format (P45+ and H3D39) and 1Ds 3, so I rate the Canon to be at the same ISO setting so I don't have to adjust the light.
Regards, K

Oh I see. Makes perfect sense.

A few from Smith Rock this past weekend....





Quite a few more being added daily in my gallery.

Roman

1)



2)

Last Summer.

Images from Haleakala crater on Maui. 1DsIII with 24-70f2.8
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Excellent work everyone. I continue to be impressed by the quality of work that is posted here. Too bad we do not have the ability to publish hard copy to be distributed and/or sold.

Here are a couple of shots of a handsome barred owl that has been hanging around my house. Nikon D80 with a Nikkor 18-135 (first shot) or a Sigma 100-300 EX.

Peter

here's a few from some recent shoots i've done. The first and third are shot using a 55mm f1.8 smc supertakumar on my 1dsmkII and the second with my 35mm f1.4. First is shot with just a cheepo tungsten video light, the second one speedotron strobe with the 18" reflector attached and the last with the sun:)

caleb

I like the last one - it's like someone stepping out of a dream. BTW, 'supertakumar' sounds like something I might have had on my old Pentax Spotmatic F.

Mike.

Recently got a 5D Mark II for a trip in Japan, holiday but while I was there for 16 days I did 2 days of shooting magazine stuff.

Shot the ugliest S2000 in the world, just a little shoot for a magazine. It's a concept car so we couldn't shoot it outside of the warehouse it was being stored in, so I opened the warehouse door and shot it pointing outside.

We used some old tungsten lights to light the car as it was pushed out of the workshop. I kinda liked the colour difference/contrast over the silver car so I didn't correct it later. We used a rig (again) so it was a 15 second exposure at F11, ISO 100. 5D Mark II 24-70mm at 24mm

Poured some water on the floor for added effect

I just realized that I have tons of stuff to process from the last year. I have no idea what I was thinking. Here is one of them.

You did good man, very good. Impressive and shows what the 5DMKII can do. I don't think anyone would find technical fault with this image, or any fault for that matter.

I think it's fine as it is because for me it has more merit as metaphor than strictly landscape. Note how the contrail actually adds to the metaphor and does not distract from it.

Thanks for the kind words! - though I find a lot wrong with it! I'm totally unhappy with the upper half (left) of the image, the warehouse door dosn't "blur" nicely in a rig shot, and contradicts the blur in the rest of the photograph. You can also see the shadows of the guys who were pushing from the other side of the car (underneath the car) and in hindsight I think I should have positioned the car further away from the door and just shot it completely indoors.

Also - the colours isn't right, I wanted to contrast cold and warm colours together (like you see on some really amazing portraiture where they use cold and warm lighting on either side of the model) but it didn't quite work here.

Easton, For the constraits you had it looks great. Being able to think quickly and come up with dramatic solutions definately is one of your assets. It's a good sample. Jim

Thanks Jim! means alot coming from you.

Although on the other hand, I'm not very good at fully utilizing resources when I'm actually given the opportunity! (i.e when there are less or no contraints) Because i'm so used to working for magazines you become used to pulling whatever you can on a limited budget and schedule. So when the day comes that you've given a lot of time, location permits and a lot of resources - you actually don't know what to do!

It's a very strange phenomenon to describe.

One of the fellow car magazine photographers in Australia told me that, he does better images when he's only got 1 hour with the car in an awful location - than he does when given the car for an entire week to shoot anywhere! Thats what happens when he has been shooting magazines for 10+ years under tight conditions, you get used to it and eventually have to rely on it.

He's a more extreme example than I am, but I think that it's definately a trait I have to eventually rub off if I want to become a successful commercial automotive photographer.

Easton, You'll figure it out. I think it all comes down to concept. Good idea, good pictures. Jim

And hopefully the art director will already have some concepts thought up for me!

Two from Nashville

5D + 24 TS-E and Zeiss 50 f1.4

LOL--I think you're doing what ever OCD photographer does--over thinking it. LEt me give you my perspective.

First, I think you nailed this shot and that is what forced me to respond.

Second, and explaining the fist, the shadows from those pushing the car are not relevant unless you know beforehand what was going on. I simply don't see it even after your explanation.

Third, the colors are warm and cool. I think teh yellow compliments teh blue/green perfectly, althugh it's not perfectly "warm" or "cool"--it's better.

Fourth, the fact the door did not blur like you wanted it, for me, was a good thing. The door, where the car is headed at what looks like a high rate of speed, is relatively crisp, which for me gives the entire image a tight, focused, chiseled, REFINED look that reflect the car's body lines and overall crisp, angular style.

Fifth, if you have total control over everything all your shots begin to look the same, which is good when you are doing copy work, and bad when you are doing everything else.

I like the fifth observation in particular. It's something I should pay more attention to. Jim

I would emphatically echo every point that DWDALLAM made. Stunning job!

Here is a landmark that's been shot to death. I tried from a different perspective and for a different feel. I looked at all the images of this landmark they had on display and didn't find one near like this.

This one from a Church in Nolensville, TN. 5D + 24 TS-E L

A few Nikon D3 portraits from Sweden

Stunning! Beautiful! The only thing I can say is that I get a little disturbed a few blown highlights, but I know that it´s hard, especially in the situation you shot the car in. You are really talented! Please post some more!

Shot in 2008.

Nice shot, great sky. The northern CA coast near Mendacino?

My eye keeps going to the black blob in the lower right corner but I guess there's nothing to be done about it without changing the whole perspective of the shot.

Good eye. It's that location. I can't get high enough to get it out of the image. Kinda ruins it though for sure. Thanks for pointing that out. I knew there was a reason I never really took the time to process that. I was blind too it I've seen it so many times. My mind was blocking it out. Maybe if I bring out the detail more in the rock (blob) it would act as an anchor? Maybe not. It's in Humboldt near Trinidad. About 50 miles south of the Oregon Ca border. I appreciate yuo taking the time to point out that flaw.

There's quite a few commercial shots in this thread. Doing commercial shots is beyond my expertise. But I wonder if the following shot might be of value for a toothpaste advertisement. Will someone please pay me $10,000 for the use of this shot .

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Another group that needs processing.

http://homepage.mac.com/keith.fitzgerald/fashionshow/
most shots with 70-200 F2.8 IS
pocket wizard firing a elinchrom ranger head with a 23cm reflector as a back light
2 more days shooting before my Canon 1ds mkiii goes in for the Err99 fix and AF fix

I love that area and hope to get back to the northern CA coast in the Fall. Funny thing is, coming from the East Coast I can almost get to Hawaii in less time than it takes to get to Humboldt.

Recent shot, retouched in CS4. First attempt at retouching....

I'm thinking that I might still change a few things.... maybe the green hue on the hair, get rid of the shadow on the corner of the mouth, and possibly change the shape of the nose (liquify tool). You'll notice that I augmented the eyes, I made them pretty vibrant, but I like it that way..... not sure if I went a step too far. I would like to hear anyone with feedback, or suggestions.

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EF 50mm, 1.8.
Room lighting

A few shots from a recent shoot.

5D + 70-200

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Terence- Stunning, timeless work, love the film emulation!

Second that - awesome work!

Thanks!

Yeah just goes to show you that the level of IQ the 5D has is just as capable for this type of photography as any higher IQ camera in the right hands. Very nice.

I think the eyes was ok! No offence, but the lighting and colours are really horrible. Why not take a simple shot by a window or outside with natural light? Then you wont have to deal with strange colour-casts asf. And if there still is colourcasts, they are alot easier to correct if there is only the natural light.

Taken last year.. not processed until now.

Nikon D3 nikkor 50mm/1.2 @ f/2.8

canon 20d . sigma 70-200 f/2.8 . 70mm
iso 100 . f/8.0
Interesting architecture I found while on a group photoshoot/meet

'Levitating Faerie'
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Canon EOS 1DSMK3 w/ 85mm F1.2L MK II F4.5 1/250th ISO100 - Post Process Lightroom 2.3 - Shot in the Studio w/ 2 x Graphite Soft Boxes against a cyc.

5dII with 70-200/f4

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Shot a few days ago for Mazda, using primary my P45+ on Contax 645 for most of the works, this is a snap shot using D3X with PC-Macro 45/2.8.

Regards, K

She looks really really uncomfortable...

Is that normal driving position for a Mazda?  

Nice shot, very interesting.

She looks like she's floating. I like that. One thing I don't like is two shadows. Perhaps it could improve with some top cropping? Good shot though. But the double shadow thing is a studio no, no.