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eggsovereasy posted:Can someone recommend a clamp or something to attach a reflector to a stand for when a wall isn't handy or should I just skip ahead and buy a second flash/stand/umbrella? LiteDisc holder plus a Super Clamp (with baby stud). Clamp the Super Clamp to a free section of light stand, attach the LiteDisc holder to the Super Clamp's baby stud. Or if you don't need the stand to multitask, just toss the LiteDisc holder on the lightstand's own baby stud. But I'd still buy the Super Clamp too because they come in handy all the time. If you can live without any real control over the reflector (e.g., you're using a very large one), giant A-clamps also work for fastening a reflector to a stand and cost all of $2. Molten Llama fucked around with this message at 00:22 on Aug 3, 2012 |
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Aug 3, 2012 00:20
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Molten Llama posted:If you can live without any real control over the reflector (e.g., you're using a very large one), giant A-clamps also work for fastening a reflector to a stand and cost all of $2. I'm not sure what a very large one is, but mine is 40 or 42 inches, something like that. It seems big. Thanks for the links too.
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Aug 3, 2012 01:00
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Today's lesson: It is very, very hard to avoid forehead glare and skin-uglification in a dramatic lighting situation. mister kelly by thetzar, on Flickr  ms proulx by thetzar, on Flickr
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Aug 3, 2012 02:43
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You can always, you know, retouch it.
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Aug 3, 2012 03:08
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A little translucent powder goes a long way. If you still get shine, use the clone stamp set to darken and 20% opacity to soften the shine.
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Aug 3, 2012 03:26
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I think using a larger light source and moving it closer can help to diffuse the situation.
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Aug 3, 2012 10:07
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Verman posted:A little translucent powder goes a long way. If you still get shine, use the clone stamp set to darken and 20% opacity to soften the shine. Translucent powder, eh? Going to have to look into that. I really know next to nothing about retouching, generally; I guess it's time for me to start a-learnin'. As for the light source, it was a shoot-through umbrella on top of my office's studio strobe, and was already pretty close-in. I'm trying to get us to buy a large softbox, to improve this situation.
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Aug 3, 2012 15:19
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Verman posted:A little translucent powder goes a long way. If you still get shine, use the clone stamp set to darken and 20% opacity to soften the shine. The more you do the more you find you'd be happier with just a little extra X; more lights, lighting modifiers, a makeup artist you can call up to stop people looking shiny and instead look professional...  Yeah, photoshop will do in a pinch but a bit powderpuffing will save your clonetool finger.
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Aug 3, 2012 15:27
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thetzar posted:Translucent powder, eh? Going to have to look into that. Easy mode: Go to a department store makeup counter or a specialty store like Sephora and explicitly tell them you need a powder for photography. It'll cost a little more than hitting up Rite-Aid, but you'll know it'll work. Many of the staff members only work part time, too, and freelance as makeup artists. A lot of the cheaper stuff at the drugstore, and some of the expensive hippie stuff, is loaded up with minerals that can just make things worse. Ever shot a group photo and had half the women turn into ghosts? Or seen the red carpet shots where women have reverse raccoon eyes? Wrong makeup.
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Aug 3, 2012 16:57
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I use Make Up Forever's HD microfinish powder on myself and whenever I do the makeup on a portrait session. It's colorless so can be used on anyone and unless you over apply, it's not visible at all but cuts the shine really nicely.
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Aug 3, 2012 19:00
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eggsovereasy posted:I posted a portrait on the previous page and someone commented that light was too contrasty and a reflector would help. I took this afterwards right next to a white wall to reflect the light back and I think it looks much more balanced. I use this one:http://www.bhphotovideo.com/bnh/controller/home?O=orderHistory&A=details&Q=&sku=357125&is=REG You will need another light stand.
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Aug 3, 2012 19:21
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This is something I did today. My boss needed a head-torsoshot with a quickness, and huddled over my shoulder as we went through a few dozen options. He selected this one, though he wasn't entirely pleased with his face. In actual use, the company will use the full-color version — but I tinkered into black and white on my own, and kind of like where I ended up with it in post.  mister stewart by thetzar, on Flickr
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Aug 4, 2012 00:33
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thetzar posted:This is something I did today. My boss needed a head-torsoshot with a quickness, and huddled over my shoulder as we went through a few dozen options. He selected this one, though he wasn't entirely pleased with his face. Nice! Pretty sharp, and nice composition and pose. I don't think I'd like the colour version better. But show us if you'd like.
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Aug 4, 2012 05:59
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Did my first headshot session today, curious to hear some critique on this: edit: pullback shot of my creeptastic basement studio setup 
an AOL chatroom fucked around with this message at 18:27 on Aug 4, 2012 |
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Aug 4, 2012 18:18
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bisticles posted:Did my first headshot session today, curious to hear some critique on this: It's a nice shot, but these things stick out to me: 1) The photo looks a bit warm (too yellow) (calibration issue?) 2) Try desaturating blue a little bit; currently it draws attention from the face, IMO 3) Lighting--her face has little depth, but the shadow on her body from the vest is very harsh 4) Hair seems slightly frizzy, this is always hard to control, but even more so on such a light background where every hair stands out clearly
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Aug 6, 2012 07:05
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Sovi3t posted:It's a nice shot, but these things stick out to me: Cool, thanks for taking a look and giving some pointers. Have to say that I agree with every one of them. I used a color calibration card, but you're right, she does seem a bit warm compared to standard skintones. I wonder if it was her makeup? Either way, dropping it about 300k brings it more in line with where it oughta be. Many thanks!
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Aug 6, 2012 11:45
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I didn't get near as many shots as I wanted to while I was in Chicago, but I do really like this one. Of course it was unplanned and just a random shot I snapped before we left the hotel that day... Also the first intentional black and white conversion I've ever done, normally if I'm doing B&W I do it on film because the B&W was part of the idea, not an afterthought and if I'm intentionally doing B&W I do like that film look. This one I kind of had the B&W in my mind from the start, though, and I think it works. Besides the colors are kind of dull anyway. Untitled by zachary.spradlin, on Flickr
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Aug 7, 2012 21:04
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RizieN posted:I didn't get near as many shots as I wanted to while I was in Chicago, but I do really like this one. Of course it was unplanned and just a random shot I snapped before we left the hotel that day... Also the first intentional black and white conversion I've ever done, normally if I'm doing B&W I do it on film because the B&W was part of the idea, not an afterthought and if I'm intentionally doing B&W I do like that film look. This one I kind of had the B&W in my mind from the start, though, and I think it works. Besides the colors are kind of dull anyway. Clone that tiny bit of the windowframe out, it's hella distracting... Other than that, very nice; I like there's some real subtle definition around her lip and nostril line, a lot of 'silhouettes' wold just be blacked out there. If there's anything hidden in the shadows there that Lightroom can pull out, try and just give the hint of form as an alternate development and see what it looks like.
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Aug 7, 2012 21:33
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Thanks, I totally over looked that bit of the window. And I shot this with a D800 so there's plenty of detail in the shadows, I have a hard time knowing which development version to "use" as a final (as if I'm using them for anything anyway...) In this one I dodged a bit on her face and hair:  Untitled 2 by zachary.spradlin, on Flickr And here's how much detail I could pull if I wanted to:  I always get stuck in between edits, so a lot of times I'll just do one and if there's no major issues stick with it, until I can develop a certain style that I'd like to stick with. I'm kind of bad at this whole "people" thing though, so I'm still learning a lot and appreciate the input.
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Aug 7, 2012 21:55
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It's good. I also want to steal your camera and your wife but that's neither here or there.
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Aug 7, 2012 22:01
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You might get your chance to shoot her next April when we're in Europe, but that's about as far as I can let it go. You can violate my camera all you want though, as long as I get it back 
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Aug 7, 2012 22:08
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RizieN posted:You might get your chance to shoot her next April when we're in Europe, but that's about as far as I can let it go. I'd be down with that! I should have a 5d3 by that time so we can have a shoot off. The D800 is a seriously sick portrait camera though, I know more D800 shooters now than 5d2 users. Complete flip.
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Aug 7, 2012 22:10
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Shot this last weekend, printed it last night. Rolleiflex 3.5 with Tmax 400. Now that my Hassy is fit for duty I'll be using the Rollei a lot less, but I sure do like the look I can get when I actually hit my focus. Maria in the Field by McMadCow, on Flickr
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Aug 8, 2012 03:50
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Your work is always great, but I always wanted to ask you why you leave the edges of the photos after developing?
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Aug 8, 2012 03:54
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Santa is strapped posted:...why you leave the edges of the photos after developing? I just really like the look of a sloppy border. Especially since each frame is a bit different. I think it's a cool way of taking advantage of the medium, that's all.
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Aug 8, 2012 04:07
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Ah, I see. I thought that you left it to create a dream-like feel to it. (wow that sounded cliche but I mean it)
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Aug 8, 2012 06:48
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Honestly it's far less metaphorical than that. I actually like it as a physical signature of the process.
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Aug 8, 2012 07:01
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McMadCow posted:Honestly it's far less metaphorical than that. I actually like it as a physical signature of the process. It will also let plebes know that your camera is better than theirs, now that you are part of the Hasselkrew.  (Note to poors: Hasselblad backs have little vee notches cut into the film frames so that we know who is cool and who is not. Get on our level Leica.)
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Aug 8, 2012 07:29
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 Bronicas have those notches too...
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Aug 8, 2012 08:00
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McMadCow posted:
Nope, Bronica just shot their ads with Hasselblads. http://medfmt.8k.com/mf/photoads.html
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Aug 8, 2012 08:28
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8th-samurai posted:Nope, Bronica just shot their ads with Hasselblads. Bahahaha, owned.
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Aug 8, 2012 10:30
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McMadCow posted:Shot this last weekend, printed it last night. Rolleiflex 3.5 with Tmax 400. Now that my Hassy is fit for duty I'll be using the Rollei a lot less, but I sure do like the look I can get when I actually hit my focus. I've been following your photos for years, and I just want to say that I've always found them inspiring. Each one seems to be more than just a model shot; they give a sense of story and place. Fantastic work.
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Aug 8, 2012 13:25
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8th-samurai posted:Nope, Bronica just shot their ads with Hasselblads. Oh snap. I might cut some V's into my Bro's back now...
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Aug 8, 2012 17:03
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8th-samurai posted:Nope, Bronica just shot their ads with Hasselblads. Huh, that's interesting. That wasn't specifically what I was talking about, but that ad is pretty funny. I thought you were talking about the notches in the corners. From my Bronica ETRs:  Fashion Models Frequently Run Away From Things by McMadCow, on Flickr thetzar posted:I've been following your photos for years, and I just want to say that I've always found them inspiring. Each one seems to be more than just a model shot; they give a sense of story and place. Fantastic work. Thanks man, I appreciate it.
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Aug 8, 2012 17:10
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McMadCow posted:Huh, that's interesting. That wasn't specifically what I was talking about, but that ad is pretty funny. I thought you were talking about the notches in the corners. Oh man - you guys are starting to make me jelz with all this film  I really like that last piece. For all you hasslekrew folk - how much did you spend on your gear?My contribution: 
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Aug 9, 2012 19:11
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My wife recently completed a personal project of hers, capturing headshots of various acquaintances. Non models, but interesting people non the less. We got about 10 final images from the day. A few days later, we had one person that wished to pull out because of a personal conflict with another participant, and given the circumstances that were discussed, we were happy to grant that and said we wouldn't release his image. A month later, and we're about to release them online to our FB page, etc. Issue is, we now have another person not wanting their image to be released. This just fucks me off. They've had a good long time to back out, knew our work so they knew what they were getting in to. His argument is that he doesn't think it's a good shot of him. We've got model releases for all, so that's not technically a problem. This is the image:  Here's some more from the series:    They're not exactly horrible shots. What the heck do you think we should do? We're in two minds about it. Do we say "Too bad, bitches" and post it anyway, knowing we're probably burning a bridge. Do we fold, and give in just because he says a month after the shoot that he doesn't want to be on there? Does Angelina Jolie/Barack Obama/Paris Hilton/Bill Clinton's PR person tell Martin Schoeller not to release anything but the most flattering headshot?
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Aug 10, 2012 03:02
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If you have his model release, just post the photo.
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Aug 10, 2012 04:34
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If you don't care about possibly losing a friend. If you do care, then don't post it. Pretty rude on their part though.
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Aug 10, 2012 05:57
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What camera did you shoot those with? They look great Sucks your subjects are being a boob.
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Aug 10, 2012 06:49
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somnambulist posted:What camera did you shoot those with? They look great
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