[ebi]

I don’t know if  “good” is the right word. You’re “ok”. Your images kind of all look the same. You have a lot of color inconsistency and exposure issues.

There is really nothing on your fb page that is blowing me away.

[ebi]

i have to tape my 24-105 into place when shooting overheads b/c the barrel slips. It went in for repair a few months ago but shortly after I got it back it started slipping again. I think i’m going to bh this afternoon…

[ebi]

well, it does have a mail in rebate offer right now so you’d save 300 bucks. So that’s a plus. I’m not sure about the Tamron. I’ve never bought 3rd party before. I suppose I should just test them out and see which I prefer. The gear game is a never ending saga.

[ebi]

I’m a canon guy so I cannot speak to nikon lenses but I find the canon 85mm 1.2L to be a really great portrait lens. Most of my portraits have a tendency to be done in very tight spaces (like the portrait of the female chef in my flickr stream). so I tend to shoot with the 50 1.2L. I’d not dare use the zoom for it b/c the distortion really sucks.

Someone hit my car while parked a few weeks ago and both my laptop and tripod were busted in the accident. I’m waiting on a check from the insurance company and then I think I’m gonna finally break down and get that 24-70. Although, I can think of a million other things that I could spend the money on and of course it’s all gear related.

[ebi]

LMFAO at CC’s response. The title of the topic is a bit misleading. I’m certain that no one who is a hobbyist is shooting war photography. I’d imagine that the risk far outweighs the reward if you’re just fiddling with your camera. Hell the risk outweighs the reward for even those who take amazing photographs.

[ebi]

99% of the time it’s real food and I eat it! One time I was shooting this beautiful chocolate cake and my finger got a little too close and I got chocolate on it. Instinctually I licked it off my finger and it was glue. The only reason the food stylist used glue was that we were doing and action shot with a pour and the chocolate was too thin to get the ribbonny effect we were after. The food stylists are geniuses and realize that most of the time it’s easier to simplify and try real things before getting too complicated.

[ebi]

@nesgran – I’ve owned it for years, since before I knew better. I want the new 24-70mm and will probably be buying it soon. Then I will chuck that fucking 24-105 into the east river. I know it’s bad but it’s also convienent. I use it knowing that I’m going to have a lot of lens correction in post. For anything longer than 70mm, I typically use the Leica lens or the 100 macro. Although I much prefer the focus fall of of the leica lens over the 100mm.

[ebi]

oh where do i start. I shoot mostly on a 5D Mark 2. I own a 24-100, which I hate. a 50mm 1.2L, a 90mm 2.8 Leitz, and a 100mm macro.

I also shoot medium format. Mostly Phase one P65+. Either with a hassleblad H2, 50mm, 80mm or 120mm macro. But I prefer the Mamiya RZ with a 75mm, 50mm floating system lens. Because of the format difference, the 50 becomes more like a 75mm and the 75 becomes more like a 90 or 100. if I need anything wider, I go hassy or just shoot with the canon.

[ebi]

Jlui – Tuscans. they never cut their pizza. Most places do. But i like to think of a personal pizza as a meal that you eat with a fork and a knife. And also, sometimes those thin crust pizza’s don’t hold up under the weight of all those ingredients.

iliketag – It’s not always me. It has a lot to do with whomever is styling the food. I’ve come to trust a lot of restaurants that have the right aesthetic to do a great job. Sometimes they miss it though. You can really tell by the detail of the restaurant if it’s going to be styled well. Other than that it’s finding the best angle to shoot it at and, of course, the light. It’s usually indirect and often diffused. I then put black cards around the table to kind of channel the light and make it more directional. If the shadows get too deep on the shadow side, I flip the black to white. To give you an idea of the kind of light I work with this is the light that produced this image.

[ebi]

alright Sharra. I created a flickr account and uploaded some images from a recent project just for you…and anyone else that wants to have a look. http://flickr.com/gp/105852606@N08/c0ga59/

I put them in order by subject as opposed to building a story flow as that is probably easier without the context of the story and the set is kind of incomplete as I didn’t select everything.

[ebi]

so so is pretty dead on. The crooked images and over retouched images as well as just some bad edits turn me off.

[ebi]

These are all great. I’m a big fan of many of these mentioned. Weegee is one of my favorites. His pictures are rare and timeless. He was doing things no one was doing at the time…even now. The children sleeping on the fire escape is just incredible.

Of course, living and dead are welcome. Another of my favorite dead photographers is Horst P. Horst: http://www.horstphorst.com/works.php

The way he worked with light and the human form is so inspiring. He’s one of those artists who you can tell his work from a mile away. There is a print of Mainbocher Corset is sitting amongst a still life in some interior designers studio in Manhattan and I was shooting on location there several years ago. That was my introduction to Horst. While I didn’t’ really care much for the still life itself, I found the image to be captivating. I spent hours on line trying to figure out who the photographer was.

[ebi]

The Keystone tool In C1Pro would fix this in an instant!

[ebi]

Oh Sharra, I really don’t mind you asking. It’s quite flattering actually. please, please, continue 😉

[ebi]

now i just think: Manly Licker.

It’s got it’s moments. I’ve not watched it for a while but I see ads for it while I’m watching the Daily show and The Colbert report – my main source for political news.

[Author]

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