Robert...............this is one of those images that makes the viewer 'feel' the object, which is a GREAT perspective. It's accomplished thru your excellent lighting/exposure allowing the exquisite detail
Great job!!
This should hang in someone's kitchen
Peter
This is a beautiful image. I love the different textures, the distinct lines in the husk contrast wonderfully with the smooth surface of the kernals. This is really something special.
-Nick
Edited by nlamendo on Aug 14, 2006 at 06:24 PM GMT (Reason: typo)
Edited by nlamendo on Aug 14, 2006 at 06:24 PM GMT (Reason: typo 2)
twoshadows wrote:
Simple elegance, Robert. That's what comes to mind when I see this pic. Beautiful lighting.
Ian
Thank you for your gracious comment, Ian. Elegance is not a word that I would normally associate with an ear of corn, but if I have conveyed that impression, then this is a better photo than I envisioned it to be.
Thanks, Art and Bob. The lighting was accomplished using an overhead incandescent plus a hand-held studio strobe. I used a 24-70 zoom lens set at 65mm, coupled with a 500D close-up lens. I set the f-stop at 22 for maximum DOF, but had to expose for 10 seconds, definitely not a hand-held situation.
canandaigua ph wrote:
Robert...............this is one of those images that makes the viewer 'feel' the object, which is a GREAT perspective. It's accomplished thru your excellent lighting/exposure allowing the exquisite detail
Great job!!
This should hang in someone's kitchen
Peter
Peter,
What a nice compliment. Thank you. I may just print one for the kitchen.
This is a beautiful image. I love the diffferent textures, the distinct lines in the husk contrast wonderfully with the smotth surface of the kernals. This is really some special.
-Nick
Thanks, Nick.
After working with this ear or corn, I cannot imagine how much more difficult it would have been working with a live model. The corn silks (hair) had to be trimmed just right; the shucks (clothing) had to be carefully placed; the model had to be pampered, and I had to be careful that I didn't reveal too much in the photo. The price, however, was right - about 50 cents.
So so pretty and wonderfully captured Robert. Masterful indeed. Corny. Not in that sense, you understand... ugh... I always end up saying the wrong things. Mrs. Flibble says I should just be permanently gagged, and not instead ungagged for the 10 minutes a day I'm allowed out of my gag.
Flibble wrote:
So so pretty and wonderfully captured Robert. Masterful indeed. Corny. Not in that sense, you understand... ugh... I always end up saying the wrong things. Mrs. Flibble says I should just be permanently gagged, and not instead ungagged for the 10 minutes a day I'm allowed out of my gag.
I'm a huge fan of BW and the tones and composition are outstanding on this one. I’ve been playing with digital for about 2 years and I still can’t get the range you managed to capture. What is your secrete?
ESC in KC wrote:
Robert - add this to the list of spectacular images you have created for these assignments. This is definitely a keeper and worthy of the frame.
DonT wrote:
I'm a huge fan of BW and the tones and composition are outstanding on this one. I’ve been playing with digital for about 2 years and I still can’t get the range you managed to capture. What is your secrete?
Don,
There is really no secret. First, I try to capture a properly exposed image with as much contrast as possible, always in RAW format. Using Photoshop CS2 and after making some tweaking adjustments in levels and curves, I open the Channels pallet, examining each of the channels to determine which, red, green or blue, gives me the most contrast. Once determined, I add a channel mixer adjustment layer and play around with the mix until I get something that I like. At this point, I sometimes will add an additional levels adjustment layer to darken or lighten specific areas. This technique is explained in Les Meehan's book, creative photoshop landscape techniques.
As an alternative, this whole process is automated, thus made infinitely easier, using Fred's BW Workflow Pro, which I will sometimes call up if I can't achieve what I am striving for with the above technique.
If I can ever help you with a specific image, or answer any questions, please send me a PM. I am still learning about this stuff myself, but perhaps between the two of us, we can figure it out.
Beautiful shot. The lighting brings out the textures just right. A finalist for sure.
If you wouldnt mind sharing, could you talk about the lighting. Always admire it in your photos.
gvarma wrote:
Beautiful shot. The lighting brings out the textures just right. A finalist for sure.
If you wouldnt mind sharing, could you talk about the lighting. Always admire it in your photos.
Hi Gotsy,
The lighting setup was really pretty simple. With Jane's help, I took the photo inside on the dining room table, using a piece of black indoor/outdoor carpeting for the backdrop. Overhead lighting was from the incandescent bulb over the table. The output of the dining room light is pretty low, but since the shot was taken around the middle of the day, there was considerable natural light in the room. The main light source, however, was from a high output 2800K Tungsten lamp that Jane held over the "model". This is one of two lamps that come in a Photo Studio in a Box from American Recorder Technologies. You can find it at http://americanrecorder.com/. Jane held the lamp about a foot above the subject and held spread fingers in front of the light to produce some shadows.
That's pretty much it, except for the post process outlined in an earlier post. Thanks for your kind words. Please feel free to follow up if you have any other questions.
The corn silks (hair) had to be trimmed just right; the shucks (clothing) had to be carefully placed; the model had to be pampered, and I had to be careful that I didn't reveal too much in the photo. The price, however, was right - about 50 cents. 