Thanks, Justin! It was one of those weeks of shooting that was so exhausting that I needed a week of buffer time before I could even look at the photos. I should post a thread with the story and behind the scenes shots, just because it makes an entertaining story.
Mike Tuomey wrote:
jose, i have to ask, because your I think your pic confirms it ... does an elinchrom's light quality make that much of a difference? oh my.
I'm biased
It's all I've ever shot with in studio. I'll say Yes!
I think, having had the chance to shoot with some elinchrom finally, that its more the modifier and less the heads. The elinchrom softlite is fantastic. I was less impressed by the heads themselves, and ended up deciding to go with hensel, but you better believe i am going to get an adapter and an elinchrom softlite. Probably try to rent one of those crazy broncolor parabolic reflectors as well, it just looks so damn cool.
That was done in Adobe Lightroom during the Raw processing. The only Photoshop done was a resize and sharpen. According to Lightroom, the settings were:
It basically squashes the contrast response a bit, but maintains decent black levels and skews the color palette in one direction - I usually go to cool blues, but I liked those images pushed towards a murky yellow/green. I tend to shoot neutrally, then figure out the overall look I want in Raw processing. I'm a post-production idiot, so I do very little in Photoshop but spend some time twiddling knobs in Lightroom (or C1 Pro) to get the look I'm going for.
It was one of those weeks of shooting that was so exhausting that I needed a week of buffer time before I could even look at the photos. I should post a thread with the story and behind the scenes shots, just because it makes an entertaining story.
