Re: Photoacute Studio 3 Keygen Free 3
Sofie Kovalcheck
As I said, I don't expect any miracles from this lens but I do have a certain standard in mind. If I wasn't doing serious studio work with a 36MP camera, I wouldn't be concerned as much. And yes, with the Nikon D800 and the kind of commercial work that I do, image detail is of primary importance as I have to compete with folks who shoot with Hassleblad and what not. Ease of operation is also essential. It's enough that the 85mm PC-E is manual focus and Christ knows what kind of aperture control but I have to give up the metering too if I want something else?
Great discussion, everyone! A great deal of help!
Now I understand (more or less) how the movements are applied with this lens. It makes the most sense to have them the way they are. It's a shame that this lens doesn't provide more freedom of movement though. Obviously there are all kinds of solutions out there. However, I simply cannot use a cumbersome bellows+rail (such as the Novoflex) because I sometimes have to work on location; mostly food shoots in restaurants. Food is not exactly 'still life'. The photos have to be taken fast, while it all looks freshly made.
A 'view camera converter' is not the way to go for me. At least not for now.
The Nikkor 85mm PC-E though is right up my alley. It will be my first ever (and long overdue) T/S lens. It's almost exactly what I need for my work. I'll buy it, see what's what, take great pictures with it and when the time is right - maybe even sell it and get something else. I'm not marrying it.
Ellis: I did dabble in focus stacking. I've tried it a long time ago with PhotoAcute (which I use for super-resolution) but about a year ago I've been convinced that Helicon Pro is the best tool there is. I haven't really implemented this technology in any of my commercial work or my personal projects. Shooting 6-7 frames per photo is time consuming and difficult enough, especially when strobe lighting is involved but post-processing is something else entirely. D800 file sizes, 16-bit workflow, a few dozen pieces of jewelry per catalog, 6-7 frames per photo to process.... Do the math. It's simply not feasible. I had a girl working for me part-time, handling some of the post-production. I don't see how it could be done even then. Focus stacking is by no means for any high-volume-low-manpower projects. I do plan to get my technique polished and to at least devise a proper workflow for it.
You will agree with me though that the purpose of tilting is not limited to acquiring as much DOF as possible. I see it as the 'proper' technique of achieving the 'desired' DOF. It's not just about getting what I need IN focus. It is also about getting what I DON'T need OUT of focus. And you just can't do that with focus stacking.
As per your client with the golden picture frames.. Have you tried shooting them in a tent? I do almost all of my jewelry in a tent and it doesn't get more 'golden' than that. Those frames are probably big but I'm sure you can find a tent that's right for you. I have 2 and one of them has a removable back, so it becomes a kind of a 'shoot-through' tent. Gold, silver and gemstones look their best in a tent, plus I can use whatever background I want and light it however I need.
Howard: The 90mm Schneider is very tempting. The build quality, the optics, the huge image circle, the tripod mount(!). I work mostly on my Arca Swiss D4 head and those two would be just perfect together. The price is within my budget too. But right now I feel that this lens is just 'too big' for me, if you know what I mean. And it's bulky too. When I do get on location I have to haul so much stuff with me in my SUV - it's ridiculous. And I almost never get any help. Right now I need ONE all-around T/S lens that I can also take with me for out-of-studio-under-time-pressure work and the Nikkor 85mm seems to fit the bill. I have a feeling that someone will produce an even finer T/S lens very soon. One with proper electronics and maybe even AF. Would be kinda cool. As an owner of the 90mm Schnider, where would that leave me in terms of resale value? I'd just be stuck with it because no one would need it (unless for dirt-cheap) as long as there were a better lens available, possibly more competitively priced. I'll start small and see where it goes from there.
Everyone who says I should rent a copy first: What if I get a rental that's been dropped? What if an element came out of alignment? What if the lens is a lemon and the store doesn't even know it? Should I really form my opinion of its resolving power, based on a rental? What if I buy this lens, test it and find that it's adequately sharp but in reality it is not as sharp as it should be? I keep it and live happily ever after not knowing that all that time I'm shooting with a lemon.
No matter how you look at it, I need to see some proper samples, so when I rent and/or buy, I'll have something to compare my own results to. Does ANYONE know where I can see some ful-res photos taken with this lens? At this point I'll look at anything, even pictures taken by another camera.
But why would you choose Capture One over Lightroom in the first place? Capture One's RAW processing engine and color editing tools are highly respected by professional photographers. Capture One works extremely hard to deliver fantastic RAW conversions for cameras from every major manufacturer, including the traditionally challenging files from Fujifilm's X-Trans image sensors. Thanks to a strong partnership between the two companies, you can even work with Fujifilm's famous Film Simulations within Capture One. For studio photographers using any camera brand, Capture One also offers the best tethering tools.
This is a fantastic camera to use not just for in-studio portrait photography, but for every conceivable portrait situation. It does everything the 5D Mark III does at the very least equally as well, but more often than not it does it better, and produces images that are worlds apart in terms of detail and quality.
Are you keen to learn about creating painterly portraits - as much in-camera as possible? Then you likely get how important lighting is. What you may not realise is how little a role photoshop plays in creating such effects: what such JoeyL like portraits seems to mean is: - thinking about portraits - what they are- how light creates them- how therefore to see and manage light "if you can use one light you can use many"- how to tune the image to create the output in your vision.Within this there are thoughts about photography as a business, workflows and data management. It's all remarkably accessible, too. Joey's teaching approach is calm and effective: he has mastered the art of the recap to make sure everyone is on the same page " first we did this; then we did.. then we did..."THe pragmatics of the course - the lighting/shooting sessions - are sensible progressions from one light (including using a flashlight and a foil lined cardboard box) to a multi-light set up. Intrigingly the lenses are limited no. of primes in the dlsr sections; the medium format is well motivated too, and clearly not a limiting factor for creating the desired image look.This course should get bonus marks for going above and beyond expectations on two counts: the portfolio section for people looking for work is v.well done in that a) it exists at all and b) Joey is not just highlighting his own work, but showing the work of others to allow him to explore options in presentation. Fantastic. The discussions of workflow- including data back up strategies - and image processing including print and web - are also sufficiently detailed and rational to be able to test out quickly. Delighted to see this work being done in PS v6 for those who haven't leapt to CC versions yet. It's also rewarding and inspiring to hear Joey say "i don't have a studio" Likewise, though Joey does work with a crew, it's clear they're working as a team and for very specfici purposes - all of which get costed into a budget.There's a lot of questions about the experience of shooting for a client - about the air of calm one has to maintain even if freaking out - to get through these points. It's all very real. WHile joey is clearly very confident about what he does, he's not arrogant, and the confidence is earned and reassuring. IT's clear he's an alpha kinda guy, a little competetive, and working for him (preferring folks who don't sleep - oh dear) may be different than attending a class - but this IS a class and his manner and way of teaching/organising/presenting work extremely well. Because the course is so complete, going not just from a to z but -z to +z it seems, these next bits are small beer: There's a rather surprising section with CL founder Chass Jarvis - but many CL courses have guest teachers bring in guests to add perspective. Here the section mainly demonstrates how gracious Joey is as an interviewer. And because all the other bases are covered it's no loss to have this business discussion of de-bunkings about how to get into this game. In other sections we see Joey as a patient guy too - answering quesitons it seems several times that had been answered previously in the course - while not everyone has tuned in for the whole thing, it's undrestandable why live questions weren't better filtered to highlight new questions - but Joey calmly will indicate as discussed before...and then give the answer. Never get the sense he's irritated by the repetition. While we hear his father as a strong critique his folks must be well pleased with how Joey's doing. This course has no extra materials - and that's ok: the links to the portfolios and software used are all in the discussions. Joey's blog also goes through a lot of discussions about gear lists. So head to his blog for supplementary detail. Overall it's hard to find a more complete course in CL on a complete portrait photography workflow. Scott Robert Lim's somewhat more frenetic but incredibly detailed 10k wedding photography and Joel Grimes Strobe workshops are also v.good in this end to end regard. But this one goes a bit beyond these perhaps in terms of vibe/cohesion (that may be unfair - it's just a feel thing between the three). Some folks label courses as "something for everyone" - i don't know if that's the case or if this case largely appeals to keen beginners who are exploring lighting and thinking about business thoughts, or if more experienced/pro photographers will be gripped by each moment, but my suspicion is that even for experienced portrait'ists it will be engaging at the very least to see how a fellow pro manages a shoot. Excellent excellent offer. With the guarentee, this is a no risk, slam dunk if commercial portrait photography (or painterly /cinematic and maybe earthy portraits) are for you. Thanks CL for bringing this together.
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