James is in his Dave Hill Look...:+}
Snook

I got a very nice one which helps

Some made today. Again HC50-110/CF/H2

It's just a downsampling error, depending on size and screen resolution.

Here is a larger version

Click to view attachment

JR

^ nice result James

James, I really really like the post on the image. Such a brooding with just a lil sparkle. Perfect.
Just a brief of your post would help, if you can. Thanx

Trying to get my 6 year old son interested in photography during the week!

Shot off Bondi, Sydney...


sinar 75lv, Alpa 35mm

WOW, Murray!

Great shot.

Thierry

Larger version is much better indeed

This is just an early select to show the AD where the image can go and this is definatley not in the finished state.

My post on this was about 15 minutes, processing twice in lightroom, once with the curves and sliders really moved around in monotone and another that was standard tame processing to use as an overlay.

In photoshop I worked on about 6 quick layers, moving curves and opacity and blending them.

Once again, this is just a very quick view.

JR

There are some really cool presets for Lightroom that will get you "sort" of close...
I forgot where I found a bunch of Lightroom presets, but some are really amazing....
Looks great james... Almost a modern Poalo roversi type effect...:+}
He use to get that by a type of solarization (sp)? type effect.
I worked with him a couple of times and also with a guy named Giovanni Gastel who in the ole days shot just 8x10 polaroids also.. and he would get that effect right of the press with the polaroids..:+}
Snook


Snook

Thank you, as always a gentleman & a scholar. Appreciate your time & efforts on this forum.

Shoot setup from today. Horrible shiny metal .... shot with mamiya RZ and 132c.

What do I see? Softboxes?

What am I looking at, some paint mixing machine? How did the endresult turn out?

Indeed, for large things on location i use softboxes. In this case only 5 boxes and 8 direct lights; 4 for the background and 4 for effects on the machine.( a packaging machine for medicines 5 meter wide. I already removed the white reflecting screens in front of the machine before taking this picture. Unfortunately i have a very bad back( in my body, not a digital one, a beginning af a hernia) so i will have to be carefull to carry all that stuff arround.

Kipling,

Love that shot!

Eric

Here's a 58 Corvette shot Tuesday for Corvette Quarterly. It's part of a several page article, I'll send along more as I get them finished. Jim

Mamiya 645, P45Click to view attachment

Jim - It looks like a painting.
Very nice as usual.

very clean!
was it shot on the same color background or a chroma?

Gorgeous!

I didn't know that the industrial pictures are allowed here... java script:emoticon(':D')

Sinarback 23HR with Sinaron digital lenses, 16 shots mode. 8 Broncolor Pulso & Grafit generators with 12 lighting sources.

Stitching mode (& 16 shots) for the biggest.

PdF



Click to view attachmentClick to view attachment

Good work! Did you use a MacroScan for stitching? And how do you handle the white shading when stitching?

Cheers,
Kumar

Excellent work! The 23hr is a great back, very clean files. And, very tricky to work with.

WOW thats gorgeous - not much of a vette fan, but a stunning photo...

nice work JR - I like that look for this type of work...thats a lot of pushing and pulling sliders in LR

Thanks for the compliments on the Corvette photography! The vehicle is an olive metallic and it was shot against white. I sampled the car's color to help create the background. By the end of the week, I'll have more to show. Jim

Jim;

The Corvette is great but so is the rest of the work on your website. Very impressive!

Jim,

You do exceptional work.

P30+, mam. AFd, 45mm at 13. Shot as part of an editorial on movers and shakers in publishing. The B&W is Sinar P, Rodenstok Symar 210 5.6, at 11, 4x5 Ilford Delta 100. Editors selected the film B&W and the P30 color.

Click to view attachmentClick to view attachment

I don't use a MacroScan, because i don't like the Hasselblad mounting system. The Sinar Rotating back of the P2 is really amazing. And a manual shifting with the P2 is rather precise.

The postproduction is heavy: I make a lot of pictures, wich I assemble. They are often made in industrial environnement, with a horrible decor.

The multishot mode is indispensable: many pictures with networks of textile, who don't forgive the "one shot". I need the finest optical systems available. The Sinarback 23 accepts Nikon lenses (the 85mm f2.8 tilt-shift is the best, for me).

I don't change the white shading during stitching: the lighting is very constant and secure.

PdF

I have used the 85PC quite often as well but on many occassions (specifically with some backlighting) I got a round hotspot and a light ring a bit further out the center.

Have you ever witnessed that with your Sinar back?

My little angel.... 528c single shot and a lot of PS.

Absolutely no problem with the Nikon PC 85 in combination with the Sinarback 23HR: it's perfectly regular, and super-sharp, even when shifted. And without hotspot in contrejour.

PdF

All,

Okay I will join in here. On April 1 I was in Washington DC, and had a few hours to photograph the cherry blossoms. These last only three days, and there was rain the first two days. But on that afternoon the sun came out for a few hours. I used Hasselblad H1 and Phase One P30 back. Most are taken with the 80mm normal lens, but one or two with the 35mm lens. Here is the link:
http://www.dboyd.com/Photos_08/Cherry%20Bl...20Blossoms.html

==Doug

Hi...

Hasselblad V with a V96C and a 150mm/f4

Superb!

Sweet! I like the b&w one especially.

Thanks James. I've been stepping back from shooting commercial fashion and beauty this year and concentrating on editorial and personal work. I've been shooting other people's comps for so long that all of my personal work feels stale.

So much of what's published and posted all looks the same. People are lighting the same way, using the same modifiers and strobe systems, the same digital cameras and lenses. The result is a beautiful sameness. I'm trying to get away from all that by working on images that are less produced. I want the subject to be as bare as possible. I'm working with a single strobe, a softbox and a some shiny board, shooting 4x5 and MF film and digital. I might add an M8 to the mix because the lenses have a special look to them.

Funny you should say that. I am kind of starting to feel the same way. Having produced 75K images last year and looking back through that to find only a few images that a would like to keep does make me somewhat sad

It does pay the bills and nice equipment though but I do need to find a way of using it more for my own projects.

It hit me one day last November. I had a really busy and successful year both personaly and professionaly (we had a baby!). I hadn't sent out a new card or updated my very old and barely functional web site in months. I looked through the keepers from the year and didn't really like anything I saw. Well crafted, well executed, beautiful even but it all looked like every other cosmetics ad or lame lifestyle shot. I had shot some editorial on film that I liked, and I even liked the raw stuff I shot for Nike in connection with the launch of a retro shoe. It's the spontenaity, the emotion that usually isn't there when you have 24,000 watts of Profoto aimed at someone and there are 20 people standing around (only 4 are working). Not to mention, its not your comp.

So I've been shooting editorials and tests and taking fewer commercial jobs. I have also been spending time with the family, which is really great. I hope to have a new book of editorial and personal work ready by September. What I have thus far has landed me a nice catalogue shoot for a hip retailer. Fall 2008!

By the way, I like those A17 shots you did of your family on a Tru Wide, I think it was, and that you posted here. In the kitchen? You used a Nikon lens I think.

Apologies for posting a couple of DSLR pics in an MF thread but I thought our lighting
approach is somewhat similar apart from the fact that my 'set' is only about 6 inches wide !

Same shadows and top highlights,though



To add mediun format relevant content I have tried this series (I'm up to about 70 Quebec
species so far) using an H3939 and 120 macro but the magnification (anywhere from
1/2 to twice lifesize) and aperture requirements (f16-f19 on full frame 35mm format)
make it impractical. As it is I can just hold enough focus at f16 but with a 645 chip
even @ f16 image sharpness degrades seemingly worse than 35mm.

As I'm eventually looking to go with large prints, any suggestions as to how to make this
work with a MFDB would be appreciated but I fear optical laws make it an improbability.

To complicate matters,every subject is living (although some are refrigerated to slow
them down a bit) and all are released. All survived excdpt for a couple of mosquitos!
Click to view attachmentClick to view attachment

I just have to say WOW!

I have felt the same way for several years. In fact a couple years ago I bought some kitchen lights at IKEA and attached the reflectors to some profoto rings. Gives a different look. Also, I use some other IKEA lamps with some daylight balanced fluorescent bulbs. They are not bright, but that allows me to put them quite close to the subject, which in itself forces a different look, and I like the falloff.

My heart bleeds. Not!
Gorgeous images BTW.

This is the problem with t'interweb. Knowledge is diseminated immediately and suddenly the entire world is watching and copying. Before it was a handful of photographers, whose work was published in magazines that were usually only read in the country of origin that anybody ever saw and learnt about. It used to be the case that a photographer developed styles/techniques and they could last him usefully for years. Add 150yrs of photography to the the huge no. of people who now have cameras and being different or original is next to impossible.
But take HDR, Planets or Dave Hill images, everyone sees them, everyone wants to know how it was done and then tells everyone else. And suddenly something new and refreshing is tired and hackneyed within 6 months. Also images I shot years before and processed in a different way yet look similar, will now be assumed to be copies of someone else's work.

I can totally understand this feeling expressed in the last few posts.
As a predominatly interior/architectural photographer i yearn to shoot content with more emotion
something that is inherently very difficult to do with interiors or architecture.
So in my little spare time I am playing with different set ups and lighting and mostly feel
like I have not enough time to catch up with what is happening on a photographic level around me or around the world let alone getting ahead. The prospect of developing a certain style to be copied by thousands is also not something to look forward to, if this is even possible with so little spare time. So often i feel like I sit on the seesaw between having to be content with what I have achieved in relatively little time (photography being a second career) and wanting more from this
profession.
Basically I wanted to respond to these last few posts as the tone is somewhat more real,
that behind all our fantastic photographic facades there are certainly the trials and tribulations
and it not always what is seems to be.
thanks
Marc

Dude Nice Lighting as well.. what was it? Looks nice and hard the shadows..:+}
Snook
Snook

I love the insect shots and think medium format would be worth testing further. My subject matter is far larger so I don't run into macro-depth of field problems. Perhaps shooting a slightly smaller image would help provide the necessary dof and still allow for a larger file than a Mk3 (or similar equipment). The difference between the chips in terms of image quality is significant (I think). Good luck!! Send along the results. Jim

Have you looked at Helicon Focus or other programs that allow you to assemble "focus slices" into one image?

http://www.heliconsoft.com/heliconfocus.html