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Found 6 results

  1. I posted this photo years ago on a photo forum. It was the cover photo from a maquette of 'Shadows in Time' which was an artist's book I was working on. I chanced upon the old thread years later. I don't always have the time to get back to all the threads I start. I'm on many forums and just too busy outside of the forums. I started with online forums way back in the BBS days. Even before that, we had snail mail forums, where someone printed out the forum contributions on a dot matrix printer, Xeroxed them and snail mailed them to all the members. Anyway, the forum person said they didn't like the shadow and liked the deer scene only. The subject of the thread was photographers' shadows in photos. I thought, goddamn, this was a photo forum, the shadow is what makes the photo, why don't they see it? But zir is entitled to their opinion. My opinion is; you can't force talent or an 'eye' on anyone. Some may be able to improve, but generally speaking, either you got an eye for this stuff or you don't. The genius produces outstanding work with little or no effort, whereas the non-genius may struggle to produce something mediocre. If we could all be geniuses at what we aspire to be by going to class or cracking a book open...we would. In the early 1970's I had a friend that went to Art Center College in L.A. (Old location) He studied photography. I would sometimes go to class with him to sit in on classes. I could not afford to go there, so that was as close as I got to Art Center. (I would also sneak in to use their dry mount press until they caught me and kicked me out.) Anyway, I noticed in the critique sessions for weekly assignments the same students would produce more or less outstanding photos for each assignment. Some would produce OK photos and maybe a great one once in a while and some would produce low end stuff as their general output. Later on with my work as an art director I noticed a similar thing with artists I would hire or do portfolio reviews on. Some had good technical abilities, but poor creativity. Others had creativity but poor technique. Others had both technique and creativity, but were flakes. Back in the 1980's I interviewed a gal for an art job. She was in her 40's and had retired from business. She was well off selling her business for millions and lived in a mini-mansion in San Marino, CA. Her new 'hobby' was she wanted to be an artist. She said she had taken some art classes and showed me her portfolio. The draftsmanship was poor and creativity was poor. And her prices to do jobs were very high. Her background as a successful business owner tainted her realistic conception of what is paid for art jobs. Her work smacked of someone with little art talent that struggled to put it down on paper or canvas. It wasn't in her, she had little talent and just studying art in school did not do much for her...she had no natural talent for art. Now someone with natural talent bangs it out with little or no effort, whereas she struggled just to produce sub-par work. That is what separates the genius from the non-genius. In my own case I tried to learn some creativity with book cover design. I used to produce lots of artist's books. Designing the cover has always been hard for me. I am not a creative person in that area. I bought a number of books on cover design. I studied and studied them over and over again. The best I could do with my creativity for cover design would be to try and copy off of other people's covers I liked in the book. It just wasn't in me. When I first started with photography in 1969 / 1970 I wanted to be a fashion / studio photographer. After a few years it sunk in I had no talent for that type of work. Eventually I stopped forcing things and moved to another area of work that I do have talent in...but it was just by chance. I could have dedicated my life to forcing myself to work in an area I was not suited for. We all have different abilities; we each have to decide how much of us we want to spend on areas we work in. Sometimes a thing clicks in the mind and you are ready to go. That is what happened to me after working on infrared flash for 4+ years and failing. Something clicked. But I could have easily given up after 4 years of failure. Sometimes it is just a crapshoot! Staten Island Ferry NYC, 2016 (Candid) Selection from The American's...60 years after Frank artist's book. by Daniel D. Teoli Jr. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
  2. I hope this is the correct forum for my question. I'm using a Panasonic GH5 with V-log L. I'm a bit confused on using V-log L. I was told that the reason for using log in general is to save the highlights (especially the sky in outdoor shoots). But in most forums, they are advising to over expose the shot to get rid of the noise in the shadows. But doing this blows out the skies. Therefore, I think there is no sense in shooting with log. Just shoot with a standard profile and light the scene correctly as v-log can't save both highlights and and shadows at the same time. The problem is, it's not easy to do this when shooting outdoors run and gun in the morning when the sky is in the shot. Am I thinking correctly or am I missing something? Thanks! God bless!
  3. Lots of discussion on the why of shooting with an iPhone, but I'm wondering about how. As in how do you create lighting that will let you get a good meaty picture and lots of subject separation using an iPhone. Expressiveness is a topic for another day. Specifically where would you start with light levels, ratios, color temps, and the rest? I presume you would set light levels so the camera could be shot at its native ISO value, but beyond that: Would you go very hard source light? Ultra diffused? Religiously keep your ratios at 2:1 or eliminate the fill and let the shadows fall where they may? How about colors? With the limitations of the iPhone sensor would it be best to define shapes with contrasting colors (solid-colored costumes against relatively plain cool backgrounds) or would it be better to keep everything homogeneous (beige on beige on beige).
  4. Hello group! Just finished watching the great Wes Anderson film: "Moonrise Kingdom" (2012), which - according to IMDb - was all shot on Kodak Vision 3 200T Super 16mm (A-Minima and Aaton Xtera). It looks fantastic IMHO. I wonder how the night scenes were done. These look underexposed on purpose, which of course is the correct choice, but I can see no coarser grain anywhere. Was it perhaps exposed correctly and darkened in post (or pull processed)? The grain pattern is really nice and very even throughout the movie (it seems to have a few zoomed-in shots done in post, making it just a bit softer, but not grainier). Text and graphics (inserts) seem to be all shot or done (computer graphics) on digital, which I think is O.K. (better than with added fake film grain which doesn't quite match the real deal). Also: does anyone have the information if the V3 200T in daylight was used with an 85 type filter (or gel) or color corrected in post? Any information regarding avoiding excessive grain in the shadows with 16mm Vision 3 color film stock highly appreciated. Thanks in advance, Christian
  5. I'll be shooting soon a short film (as DP), and I only have a small amount of choices in term of which camera I can use. I was wondering if anyone has personal experience to share as for how these cameras work in a low key light system, which of these cameras render the black at the best, with which one we can play with sort of gamma settings so as we can get a good latitude? I also have the opportunity to work with Panasonic AF101, but I don't like codec so much beside the fact it crashes the highlights very quickly and can't go beyond 2 stops 2 stops and a half in the blacks, so I was wondering if actually opt to shot with a DSLR. Any ideas? What about how each of them react in a low light situation, if I have to compare these cameras? CANON 5D Mark3 SONY A7s AF101 thank you so much!
  6. NOTE: I think this could be a broad question, and most people (I hope) will have something to say but admins feel free to relocate this thread if it doesn't belong here. I'm writing a paper temporarily entitled 'Aesthetics in the Absence of Light: Storytelling Through Shadows' and have purchased several books on the film noir and horror genres and on film lighting in general. I'm finding, however, that the films referred to in the books are either too obscure and not great films or the few obvious choices. I can't watch every film in existence looking for shots that utilise shadows effectively and originally but perhaps some users on here can steer me in the right direction and could recommend a film I might have missed that has a relevant scene in it somewhere, a film that doesn't necessarily fall into the noir or horror genres, but is recognised and respected. Any help would be much appreciated, Thanks, Stephen
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