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A Moment on a Sunday Afternoon.
Jan 8, 2019 09:13:42   #
Timmers Loc: San Antonio Texas.
 
It is that person again, Cristi!

I usually buy one of those six foot 'kiddy pools' in late Spring, about $35 bucks. Good for water fun in the garden (home of the Bubble Kitty). There is no better fun that water and women, sometimes with bathing suits! With VADA it would be a polka dot bathing suite! In Cristi's case I saw this silly round ball that attached to the hose and had sprinklers built in. Alas, not much fountain effect, bummer!


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Jan 9, 2019 07:28:19   #
travelwp Loc: New Jersey
 
Timmers wrote:
I There is no better fun that water and women,


If the women looked like your model, you could have fun without the water. Nice shot.

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Jan 9, 2019 07:41:18   #
f8lee Loc: New Mexico
 
Sorry, from the strained expression on her face she looks to be in pain, and the background is very busy and distracting.

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Jan 9, 2019 08:31:51   #
Rab-Eye Loc: Indiana
 
f8lee wrote:
Sorry, from the strained expression on her face she looks to be in pain, and the background is very busy and distracting.


I was thinking the focus is soft.

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Jan 9, 2019 10:22:58   #
olBadger
 
The good:
Cristi, has everything needed to be an exceptional model for you, and I would LOVE to see a whole series of shots/sessions done with this young woman.

The bad:
The focus does seem off, or were you shooting for (pardon the pun) a grainier look?

Her expression is utterly flat and lifeless in this shot. I'm sure it isn't how she felt overall, but this single shot has her face as emotionless as a mannequin.

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Jan 9, 2019 10:45:45   #
Toby
 
Nice looking model. Background and focus needs work. I like this much better than your "monkey" series

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Jan 9, 2019 11:26:04   #
Timmers Loc: San Antonio Texas.
 
Hi all, you are correct about the focus, it is soft. This is exactly why I dumped the high end consumer digital junk from Canon (Nikon is the same) and went back to lenses that actual focus properly on a camera body whose manufacture is Carl Zeiss (Sony). I just have given up on poor quality digital junk. I know this will sound elitist, it is not. Photo gear should never interfere with vision.

And before I get the landslide of shots at me, keep in mind I'm an experienced photographic workman with quality as an important aspect to my work. Using an 11X14 wooden camera with a Kodak Portrait 305 lens and a home made airy diffusion disk where the image on the ground glass must be focused with a precision loop to the green band of the image and then the back racked back 1mm to achieve optimum image quality for a optical soft focus.

Done with Polaroid 809 in studio, original as a Polaroid transfer to Reeves BFK paper.


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Jan 9, 2019 14:09:25   #
f8lee Loc: New Mexico
 
Not meant as a shot, though I disagree with your assessment of Canikon (and presumably other brands).

Focus was not the issue to me; rather, the pained expression on her face makes for an uncomfortable looking image, and the visually busy background is simply too distracting. A shallower DOF would obviously have made for less distraction, but of course as an experienced pro you already know that.

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Jan 9, 2019 15:07:16   #
Timmers Loc: San Antonio Texas.
 
As it is said, "To each his own". The expression was what I wanted, not pained, rather that of a different type of look. The background was equally intentional.

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Jan 9, 2019 15:09:15   #
JohnFrim Loc: Somewhere in the Great White North.
 
I have no problem with the expression on her face (pool shot). She actually looks a bit like Demi Moore in that shot.

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Jan 9, 2019 15:21:53   #
Timmers Loc: San Antonio Texas.
 
Thank you JohnFrim, your comment is constructive. I did not 'see' the Demi Moore aspect in the image, yet that was the essence of the what I was researching in image making.

There are times that I will manipulate the facial structure of a model as a means of reduced recognition. It has nothing to do with any legalistic references, more to do with the concept of that element of reality that a photograph carries automatically. Face and body alteration through photography is one of the issues that draw my attention.

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Jan 10, 2019 05:37:40   #
PaulG Loc: Western Australia
 
Sorry, I'm a bit lost. So why if you dumped the "high end stuff" are the images still soft?

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Jan 10, 2019 10:11:50   #
Timmers Loc: San Antonio Texas.
 
The image you refer to is an image done with the Canon D20 or D30, can't remember which one and the Canon f2.8 "L" zoom lenses. The lens is pure junk, but then all zoom lenses are junk (sorry, they are but like ass holes, it is an opinion), or on the more intellectual slope, as Democritus* put it a few thousand years ago, "The universe is composed of energy and matter, the rest is mere opinion." At that time it was the only digital camera that I had. When I decided to switch from the main stream consumer digital approach I considered an important option, limit digital to the camera portion of the photography and go back to the old lenses. For me they were Leica lenses.

Why return to Leica lenses. Beyond the reality that E. Leitz has always made and still makes superb optics, and after all it is the lens that is making the image, it is the control that the fixed focal length lens gives to a photographer.

Because THAT part of photography is extremely critical let me point this out as a technique, one that when I used film based technology I use all the time. What any working photographer desires in the world of the practical everyday is a rapid control of depth of field. It is critical and a key element in the notion of visualization.

On a fix focal length lens on sees a focus section that tells one the place in feet or meters that the lens is when brought to focus on a particular point in a scene. In the world of practical/working photography this information has no point.

So, cover that portion of the lens barrel with cheap tape. Now, one focuses on the closest point that is wanted in focus, then select the place where you want the most distant point to be in focus. Each selection is marked on the tape. Now, rotate the barrel of the lens back and forth until both marks fall on a common indicated f stop that are marked on either side of the lenses' barrel. You now have found and set the proper f stop for that lens for the chosen position you are standing in the scene. By the way, you have also in a technical sense selected the lens, f stop, and distance for the scene you want in focus and this is called setting the lens to it's hyper focal distance. (But that selection is not important to a working photographer, but control of the scene being imaged is critical.

If you want to look this up you will find the subject covered under the first rule for Scheimpflug principle. You can get lost in looking into all this but being exposed to it is good if you have never herd of all this technical stuff. Don't get lost in it, most of this has nothing to do with the practical side of image making. As example Scheimpflug does NOT help you with grasping the use of the optical movements on a view camera, it just distracts from the active principals of practical photography. With the view camera it first moving the optical center in the field of view or entirely out of the field of view that gives one incredible controls. With hand held cameras it is found with limits with the perspective correcting lens (Nikon's PC 35mm and 28MM lenses).

This could seem I am off the deep end but in fact I am not. Control of the image is what you want. If I choose the Elmar 50 lens over the 50mm Summitar I get a certain look, If I move from the 50mm Summitar to the 28mm R Elmar I get a more color accurate image, but the rendering from the 50mm f2 Summitar has rendering qualities that makes for less that process optics but then that was not what I wanted in the image. Sharpness can become a hobgoblin in photography, don't let it. Apo lenses are fine in technical work but may not be what you want. Get what you want, don't let the lens tell you your vision. For me, I had no longer found the Canon 'L' lenses of much purpose in my general work.

On the positive side for zoom lenses, here is an excerpt from the series "The Peep Show" where the lens mounted on a rigid studio stand and zoomed during the exposure using the Canon with the f2.8 'L' zoom lens. The front of the Peep Show is a 1/8 plate glass mounted in a rigid support. The three light zooming in toward the viewer are from lights hidden above the top of the plate glass support, pointed back towards the 4X8 foot plate glass mirror mounted on the rear wall some 10 feet from the plate glass. Illumination with mixed par lights above and three flash heads plugged into the 800 watt second channel of a Norman 2000 watt second power base.

*Democritus: https://en.wikipedia.org/wiki/Democritus


(Download)

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Jan 10, 2019 19:12:14   #
PaulG Loc: Western Australia
 
Timmers wrote:
The image you refer to is an image done with the Canon D20 or D30, can't remember which one and the Canon f2.8 "L" zoom lenses. The lens is pure junk, but then all zoom lenses are junk (sorry, they are but like ass holes, it is an opinion), or on the more intellectual slope, as Democritus* put it a few thousand years ago, "The universe is composed of energy and matter, the rest is mere opinion." At that time it was the only digital camera that I had. When I decided to switch from the main stream consumer digital approach I considered an important option, limit digital to the camera portion of the photography and go back to the old lenses. For me they were Leica lenses.

Why return to Leica lenses. Beyond the reality that E. Leitz has always made and still makes superb optics, and after all it is the lens that is making the image, it is the control that the fixed focal length lens gives to a photographer.

Because THAT part of photography is extremely critical let me point this out as a technique, one that when I used film based technology I use all the time. What any working photographer desires in the world of the practical everyday is a rapid control of depth of field. It is critical and a key element in the notion of visualization.

On a fix focal length lens on sees a focus section that tells one the place in feet or meters that the lens is when brought to focus on a particular point in a scene. In the world of practical/working photography this information has no point.

So, cover that portion of the lens barrel with cheap tape. Now, one focuses on the closest point that is wanted in focus, then select the place where you want the most distant point to be in focus. Each selection is marked on the tape. Now, rotate the barrel of the lens back and forth until both marks fall on a common indicated f stop that are marked on either side of the lenses' barrel. You now have found and set the proper f stop for that lens for the chosen position you are standing in the scene. By the way, you have also in a technical sense selected the lens, f stop, and distance for the scene you want in focus and this is called setting the lens to it's hyper focal distance. (But that selection is not important to a working photographer, but control of the scene being imaged is critical.

If you want to look this up you will find the subject covered under the first rule for Scheimpflug principle. You can get lost in looking into all this but being exposed to it is good if you have never herd of all this technical stuff. Don't get lost in it, most of this has nothing to do with the practical side of image making. As example Scheimpflug does NOT help you with grasping the use of the optical movements on a view camera, it just distracts from the active principals of practical photography. With the view camera it first moving the optical center in the field of view or entirely out of the field of view that gives one incredible controls. With hand held cameras it is found with limits with the perspective correcting lens (Nikon's PC 35mm and 28MM lenses).

This could seem I am off the deep end but in fact I am not. Control of the image is what you want. If I choose the Elmar 50 lens over the 50mm Summitar I get a certain look, If I move from the 50mm Summitar to the 28mm R Elmar I get a more color accurate image, but the rendering from the 50mm f2 Summitar has rendering qualities that makes for less that process optics but then that was not what I wanted in the image. Sharpness can become a hobgoblin in photography, don't let it. Apo lenses are fine in technical work but may not be what you want. Get what you want, don't let the lens tell you your vision. For me, I had no longer found the Canon 'L' lenses of much purpose in my general work.

On the positive side for zoom lenses, here is an excerpt from the series "The Peep Show" where the lens mounted on a rigid studio stand and zoomed during the exposure using the Canon with the f2.8 'L' zoom lens. The front of the Peep Show is a 1/8 plate glass mounted in a rigid support. The three light zooming in toward the viewer are from lights hidden above the top of the plate glass support, pointed back towards the 4X8 foot plate glass mirror mounted on the rear wall some 10 feet from the plate glass. Illumination with mixed par lights above and three flash heads plugged into the 800 watt second channel of a Norman 2000 watt second power base.

*Democritus: https://en.wikipedia.org/wiki/Democritus
The image you refer to is an image done with the C... (show quote)


Gosh.... and not a monkey in sight!

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