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Fun with Nikon Images

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Landscapelover

Senior Subscriber Member


I want to share the story. We and other 20+ people were watching bisons at Yellowstone NP. This awesome bear was out of nowhere. He did not seem to pay attention to us and just walked passed by eating grass. It was less than 10 feet and I had the 80-400 mm VR with me. Standing behind the car, I asked my wife to open the door, just in case. I bet it's not gonna be me because I was skinny, not the closest and behind the car.

The closest bear I've ever experienced except in the zoos behind the glass. The picture was cropped only slightly.

Sorry! I missed focusing on the eye balls.

Pramote
Zenfolio | Pramote Laoprasert | Landscape Photography
 
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JohnBrew

Active member
Well, heat be damned I went out yesterday afternoon at 95 degrees and shot this. I haven't used my Zeiss 21 in a very long time. D810, f13 @ two minutes.
 

dwood

Well-known member


I want to share the story. We and other 20+ people were watching bisons at Yellowstone NP. This awesome bear was out of nowhere. He did not seem to pay attention to us and just walked passed by eating grass. It was less than 10 feet and I had the 80-400 mm VR with me. Standing behind the car, I asked my wife to open the door, just in case. I bet it's not gonna be me because I was skinny, not the closest and behind the car.

The closest bear I've ever experienced except in the zoos behind the glass. The picture was cropped only slightly.

Sorry! I missed focusing on the eye balls.

Pramote
Zenfolio | Pramote Laoprasert | Landscape Photography
Pramote, I wouldn't worry too much about not nailing focus on the eyes. It's impressive that you were that close to this bear and actually made the shot. To be honest, I would have passed out. :) Nice pic!
 

dwood

Well-known member
A dear friend of mine is a found object sculptor. Most of her work is inspired by the sea and coast of Maine...lobsters, crabs, seahorses, etc. We've done some collaborative work over the past year which has been a lot of fun. This pic is an example. I used the D810 and Sigma Art 50 on this one.

 

Landscapelover

Senior Subscriber Member
Pramote, I wouldn't worry too much about not nailing focus on the eyes. It's impressive that you were that close to this bear and actually made the shot. To be honest, I would have passed out. :) Nice pic!
Doug,

Thanks so much for your kind words!
To be honest to you, I was not the bravest one. Few other people were even closer and not behind cars. If something happened, I would surely have companies :)

Pramote
 
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jsf

Active member
View attachment 119893


Nikon d800E 55mm AF micro AIS 3200ISO

I just did my first portrait shoot in my first studio in my home. A bride to be. I have not done a portrait in 35 years. Feeling quite rusty. I am still tweaking little things about the set-up. I did not figure I would be doing any quick lighting changes, per sitting. The subject already tested that assumption. So I might have to re-vamp the set-up.

I mounted two 500W equivalents LED's and I am pushing them through a piece of white cloth hung off of a boom, as my key light. Then an LED at camera position for my fill with an LED hair light on a boom at the height of my ceiling, which is 9 feet.

I like three point light. I recently attended a Greg Gorman workshop and he works with one light and a reflector. I can't criticize the results, but it isn't to my taste. He told me I have 1950's sensibilities.

Any thoughts on the image will be appreciated. I have difficulty in getting any feed back on portraits as virtually all of the critiques I go to are done by landscape guys. Good guys with good eyes, but still they are not used to subjects that talk back.

Thank you for the comments.I want to make a portrait of one aspect of what that person is to me. Like here, a bride who plans to do gymnastic routines as part of her reception.

The lighting comments are most welcome. The continuous lights (LED's) are fully adjustable and in fact the fill light was dialed back a lot and the hair light was also dialed back. I thought that the strong light with strong shadows was more stark and in keeping with the drama and strength of the subject. Also in contrast to the fact that she is a bride. A subject that I would have used soft light for if being a bride was what I was after. Romantic slightly warm and soft even to the point of defocusing control settings that soften the image slightly, and then in PP just making it romantic.

I think I did way to many in my career. Somewhere around 10,000 sits. I prefer the work of Maplethorpe where the subject is lit, carefully, but somewhat harshly. I don't want to be him or any other photographer than myself. But what I wanted was just what I got and I thank you so much. i can't really see what the image is, did it conform to my vision, did I learn something, until I can have something to compare it against. So every opinion helps me define that ever present question, what am I doing? What is the precise vision? Did I use the language with precision and grace? Tough questions, persistent questions.

Joe
 

Hulyss Bowman

Active member
Before any technical setting you must study your subject prior to any photo. The way she move, her facial expression, the shape of her muscles, the kinetic of a movement. That do not come quickly because something should happen between her and you, complicity, connection. This is beyond friendship because it do not last long (in most case) even if the girl have a boy friend or she's married. She need to look at you with love/trust intensity, sometime she will be able to do it with you and NOT with her boyfriend because you are the photograph so she feel safe, your not a danger (or you can be). So you need to know first what you want to get out of her, what she inspire you, whatever the context. Then you'll be able to drive her to obtain the shoot. The vision of the shoot should be in your head first and your goal is to reach this vision. Often it is not possible because the subject isn't skilled in everything. So you need to develop empathy without lying to yourself.

Focus on this. It can take a long time and will serve you far better than any gear you can own. You'll learn a lot about yourself and your emotional limits too.

In one month, post an another portrait here. Apply this approach. Forget about led and studio, go outside at the end of the day with a 50mm.
 

foveon

Member
The camera come in last, foveon. My actual mate was a model...
I completly agree to your words about the importance of installing a relation between model and photographer, IMO thats the most important part in work with people, I do it the same way; it just took me some years to tell my vanity that the love in the eyes is not for me but for the camera^^
 

Hulyss Bowman

Active member
I completly agree to your words about the importance of installing a relation between model and photographer, IMO thats the most important part in work with people, I do it the same way; it just took me some years to tell my vanity that the love in the eyes is not for me but for the camera^^
Do not tell anything to your vanity. Sometimes we are wrong.

Some days ago I got a new model to cast at home. I think I will work a lot with her !

New blood -

 

Mr.Gale

Member
I just got home from my annual visit to the Sunflower fields in Yolo county. The first one is a nice young field and they were all standing at attention. I took this one at predawn, it was just starting to get light (wait, isn't that the same a predawn :)) .

The second a field at sunset.

And the third that is another Sunflower field that looks similar to the first one but this one is closer to the hills. To get a better view of the fields I bring a tall step ladder so I can shot down on the field. It is tempting, but you don't want to stand on the white boxes that are placed around the fields. :)

Mr.Gale





 
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