Quake3World

Awesome stuff Yeahso. Can you give me any details on the lighting setup for that last shot? Do you use a strip box?

I really like the overall tone of those cathedral shots.

Finally - do you use primes or zooms as a commercial photographer? I've talked to a couple commercial guys who scoff at the idea of using zooms for their commercial work, even L-series glass, because they 'just aren't sharp enough' to paraphrase their opinion.

Others have told me that today's zooms are easily sharp enough for any type of work - I tend to agree with them, but did wonder if there was an overall opinion in the world of commercial/product photographers about this.

Hi tnf, I feel these posts of mine may be deleted extremely soon, so I hope you get time to read them before they go.

Final shot was lit with a beauty dish and a grid 45 degrees camera right at f8, with a smaller gridded reflector to light the tattoo at f16.

I stick to zooms mostly, but I will use primes such as the 24mm Tilt Shift if I have an architectural commission.

It depends what you're shooting for. If you're shooting at 300dpi and you're going to be printing extremely large then you need the optics to be as good as possible.

Sometimes, especially for some commercial editorial work, a zoom just doesn't cut it.

But for 90% of work, I wouldn't take anyone seriously if they said zooms weren't up to standard. If that were the case, everyone would be shooting with a 100mm macro if sharpness at that level was so important. Sometimes, the extra pixel definition just isn't visible.

Also, zooms are sometimes much more versatile. Especially if you're working in the field, have limited space, and the client has asked you to get a few different looks from a single location. I think all of the shots I posted above were taken with a 24-70L

The only time a zoom is an absolute no-no is product photography. But again, only on a high end commercial level.

Yeahso wrote:Hi tnf, I feel these posts of mine may be deleted extremely soon, so I hope you get time to read them before they go.

Final shot was lit with a beauty dish and a grid 45 degrees camera right at f8, with a smaller gridded reflector to light the tattoo at f16.

I stick to zooms mostly, but I will use primes such as the 24mm Tilt Shift if I have an architectural commission.

It depends what you're shooting for. If you're shooting at 300dpi and you're going to be printing extremely large then you need the optics to be as good as possible.

Sometimes, especially for some commercial editorial work, a zoom just doesn't cut it.

But for 90% of work, I wouldn't take anyone seriously if they said zooms weren't up to standard. If that were the case, everyone would be shooting with a 100mm macro if sharpness at that level was so important. Sometimes, the extra pixel definition just isn't visible.

Thanks. Read it before it was deleted (if it gets deleted). Why would someone do that?

Oh, as a general rule, I never use strip boxes or soft boxes I prefer to work with hard light and use grids or feathering for diffusion.

Though sometimes, for environmental portraiture, I use a gridded alienbees softbox. That thing is awesome.

tnf wrote:

Yeahso wrote:Hi tnf, I feel these posts of mine may be deleted extremely soon, so I hope you get time to read them before they go.

Final shot was lit with a beauty dish and a grid 45 degrees camera right at f8, with a smaller gridded reflector to light the tattoo at f16.

I stick to zooms mostly, but I will use primes such as the 24mm Tilt Shift if I have an architectural commission.

It depends what you're shooting for. If you're shooting at 300dpi and you're going to be printing extremely large then you need the optics to be as good as possible.

Sometimes, especially for some commercial editorial work, a zoom just doesn't cut it.

But for 90% of work, I wouldn't take anyone seriously if they said zooms weren't up to standard. If that were the case, everyone would be shooting with a 100mm macro if sharpness at that level was so important. Sometimes, the extra pixel definition just isn't visible.

Thanks. Read it before it was deleted (if it gets deleted). Why would someone do that?

Because I just admitted to being sys0p in that "boring" thread below. I'm under the impression I'm still not welcome here.

Dumdumdummmm......

(Welcome back)

Yeahso wrote:Oh, as a general rule, I never use strip boxes or soft boxes I prefer to work with hard light and use grids or feathering for diffusion.

Though sometimes, for environmental portraiture, I use a gridded alienbees softbox. That thing is awesome.

What beauty dish/grid setup do you use? Are you talking like a 580EXII with a beauty dish or an Alienbee with a beauty dish? The quality of lighting and the details/tones you achieve in those shots are something I hope to one day be able to pull off - first I a place I can use as a studio though - house doesn't have the room for setting everything up.

BTW - Can you PM me your photography contact info again? I'd like to follow your work and check your portfolio as it grows.

Http://www.john-Godwin.co.uk

most new stuff goest in my blog. Posting from my phone so excuse shortness

Beauty dish is a 22inch generic that I modified to fit on alienbees lights.
Don't get caught up in what kind of light people are using. Light is light, and it's all completely identical relative to the subject.

I don't use small flash though, I have alienbees everything. Plus a couple of interfit lights.

Oh, and my studio is in my home. Moving to a fully equipped large space at the end of the year, but you can do
anything up to a 3/4 shot in the tiniest of spaces. I have a 9 foot roll of colorama in my living room with 8 square feet of reflectiv. Flooring that all folds down to create an infinity wall. You've just got to be clever with your use of space.

Yeahso wrote:Hi tnf, I feel these posts of mine may be deleted extremely soon, so I hope you get time to read them before they go.

why would someone do that?

Doombrain wrote:

Yeahso wrote:Hi tnf, I feel these posts of mine may be deleted extremely soon, so I hope you get time to read them before they go.

why would someone do that?

oh.

Yeahso wrote:Http://www.john-Godwin.co.uk

most new stuff goest in my blog. Posting from my phone so excuse shortness

Beauty dish is a 22inch generic that I modified to fit on alienbees lights.
Don't get caught up in what kind of light people are using. Light is light, and it's all completely identical relative to the subject.

I don't use small flash though, I have alienbees everything. Plus a couple of interfit lights.

Yea, I completely agree with the light is light - I have AB's and I also buy used old Nikon SB-24s or SB-25s for small off camera lights to take along on senior portrait shoots, etc., when I don't want to lug around the ABs and the Vagabond. I can't see why someone would drop the cash on a brand new 580EXII if they are going to use it primarily off camera. I also use cheap generic triggers that have worked great. Photons are photons.

tnf wrote:
Yea, I completely agree with the light is light - I have AB's and I also buy used old Nikon SB-24s or SB-25s for small off camera lights to take along on senior portrait shoots, etc., when I don't want to lug around the ABs and the Vagabond. I can't see why someone would drop the cash on a brand new 580EXII if they are going to use it primarily off camera. I also use cheap generic triggers that have worked great. Photons are photons.

my sister dropped my 5d on the 580exII which was attached and snapped it in half.

Doombrain wrote:

Nice scene.

Doombrain wrote:

tnf wrote:
Yea, I completely agree with the light is light - I have AB's and I also buy used old Nikon SB-24s or SB-25s for small off camera lights to take along on senior portrait shoots, etc., when I don't want to lug around the ABs and the Vagabond. I can't see why someone would drop the cash on a brand new 580EXII if they are going to use it primarily off camera. I also use cheap generic triggers that have worked great. Photons are photons.

my sister dropped my 5d on the 580exII which was attached and snapped it in half.

That sucks. I debated upgrading to a 580EXII for the times when I needed some on-camera light, but I didn't really need the features above and beyond what the 430EXII had since most of my lighting was taken care of with off-camera stuff. Are you flashless now or did you replace it?

I'm like you in that I don't do a lot of night time shooting so I just glued it. No biggy because I didn't pay for it.

[lvlshot]http://farm5.static.flickr.com/4124/5089362671_e312cf26aa_o.jpg[/lvlshot]

[lvlshot]http://farm2.static.flickr.com/1436/5099954589_8f67a51213_o.jpg[/lvlshot]

Fantastic line...

Hey TNF, just got your reply on my blog. I never post on my own blog, really, because it looks a bit like I'm touting for traffic.

Definitely weird how our lives followed parallel lines in regards to our hobbies. Training Photography switch to Macs.

The Mac thing hit me the hardest. I cannot believe I spent so many years putting up with Windows. There's nothing that could ever make me go back to that shitfest. OS X is just beautiful. Everything about the iMac is incredible.

Oh, thanks for the compliment about my writing, too. I get more compliments about my blog posts than the photographs that go with them, now that I think about it.

rest are here: http://www.flickr.com/photos/andyman82/ ... 060735633/

Shameless pimping of my most recent blog update:

Barefoot Cheek http://john-godwin.co.uk/blog/barefoot-cheek/

Yeahso wrote:
The Mac thing hit me the hardest. I cannot believe I spent so many years putting up with Windows. There's nothing that could ever make me go back to that shitfest. OS X is just beautiful. Everything about the iMac is incredible.

Sorry, couldnt help but remember this post and thought it was kinda funny...

viewtopic.php?f=1&t=43734&p=824740&hilit=Apple#p824740

haha, case in point. I am a hard-won convert. Macs are fucking awesome. Other Apple products and the general Apple fan base, less so.