Tag Archives: studio photography

File Formats: RAW v JPEG

RAW & JPEG are two different types of electronic file

The principal differences between the two types are:

  • RAW files are literally the raw data as produced by the camera at the moment of pressing the shutter
  • They have no ‘built in’ file format
  • You are then free to adjust this data through Photoshop or a similar application on a computer
  • You can change; exposure, white balance, contrast, brightness, etc
  • You can return all settings to the start point and begin again
  • A RAW file is, in effect, a digital negative

 

  • JPEG’s are generated by the camera after exposure & are written onto the memory card
  • Preset data for exposure, white balance, etc will be embedded in the file & can never be removed
  • The parameters are decided by you in advance
  • Your latitude to change & make alterations afterwards are very limited
  • The file will be compressed & this is achieved by discarding information that can never be retrieved

 

If you are working digitally then having a camera that will allow you to shoot in RAW format as well as JPEG can be an advantage.
However a JPEG that is produced by the camera at the same time as a RAW is not as satisfactory as one that you generate yourself from the RAW file during post-production.
Many DSLR’s will do both RAW & JPEG at the same time but this will reduce storage capacity.

 

Why shoot RAW?

  • When creating digital prints of the highest exhibition quality & size
  • Shooting high ISO values in low light
  • When you want to make high quality monochrome conversions
  • Photographing a subject with a high dynamic range
  • When you are uncertain about the colour temperature of the subject

 

Why shoot JPEG?

  • When the end result is for small scale or low quality output
  • If you need fast workflow
  • When you need low res images for web or onscreen use
  • When you need to shoot quickly
  • When the end result requires minimal post-production
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Filed under Exposure, Lighting, Tech Tips

The View From The Bottom

Nadia Ryder is a dedicated, hard-working and creative photographer in the early stages of her career. She recently published this post online and is happy for me to share it. What she describes isn’t at all new…however it is becoming more and more common.
How do you feel about this? Why not check out here URL & see why she (along with many others) is worth being paid?

‘So sick of seeing ‘job alerts’ pop up for internships online. Let’s just call it what it is. Companies basically not wanting to spend their money on a job they think isn’t worth paying for, yet if the job isn’t worth paying for, why even ‘hire’ an intern? Clearly if it’s not worth paying for it isn’t essential to your business? Oh wait, except it is, you just don’t want to spend the money. Internships are a great way to gain experience and insight into an industry while networking and making contacts, sure, but some of the ads I have seen are just disgusting. “Photographer and clothes ironer needed, £5 per hour”. Are you fucking kidding me? What makes you think someone would want to snap that job up for under minimum wage? Another gem “intern needed to retouch fashion campaign for big prestigious brand. Unpaid” Well if the brand is so big and prestigious, why can’t they afford a fucking retoucher?

Do not fall for this shit. Sometimes it’s easy to tell when someone is looking to mug you off and sometimes it’s not, but don’t degrade yourself by being someone’s bitch just for a name on your CV. Sometimes it isn’t worth it. Obviously it’s a judgement call, but I’m tired of seeing people get mugged off.

Everyone in the creative industry do yourself a favour and actually appreciate the value of your work. The reason people approach you for ‘work’ is because they can’t do it themselves. So why devalue it and let them have it for free? You pay accountants, cleaners, lawyers, you name it, so pay the fucking photographer. If everyone took a stand and said no to free work, these companies would HAVE to pay. You’re only hurting yourself and all others in your profession by offering your services for free. Take pride in what you do and learn to say no.

Sorry/not sorry for the rant. I’m just so mad and sick to death of it.’

© Nadia Ryder, 2014 Reproduced with permission

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Hugh Turvey’s Xograms

Hugh Turvey is a London based commercial photographer and artist in residence at the British Institute of Radiology. His solo show Xposé: Material and Surface is running at the at the Oxo Tower Wharf, London. 12-23 February, 2014. It’s free, it’s a treat so be sure to go and see it.
Here’s just a taste of what to expect:

Air © Hugh Turvey

Air © Hugh Turvey

Sage Composition © Hugh Turvey

Sage Composition © Hugh Turvey

Stiletto © Hugh Turvey

Stiletto © Hugh Turvey

Woman Drinking Water © Hugh Turvey

Woman Drinking Water © Hugh Turvey

Then read Kadhim Shubber’s interview from The Guardian.

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The Interview – Guglielmo Galvin, getting behind the mask (Part 2)

This picks up where the first instalment left off.

S&L. OK Gil, what I’d like you to do now is explore the stories behind some of the portraits we have here. Let’s start with these two women in the shopping mall.

Gloria Hunniford

Gloria Hunniford, TN presenter

GG. (to himself) How did I get her like that?

S&L. Well don’t ask me because I wasn’t there.

GG. Gloria Hunniford is the one in grey and she and her friend are at a shopping centre. The poor friend looks ridiculous. But I think I love that picture and I’m glad that we’re using it. I can’t remember what it was for, I can’t even remember who it was for and I certainly can’t remember where it was. Yet what I like about it is that Gloria is responding to my performance with her own and the the friend just doesn’t know how to take it all.

S&L. Now earlier you explained that you used to just glance at the Polaroid, not dismissing them but at the same time not letting them interfere with your creative process. However you certainly looked at the Polaroid sufficiently to know that your exposures were accurate.

GG. That’s all  I did. I then reserved my actual production – which was really a performance – for achieving the end result for the connection between me and the sitter. That would be me kind of whipping things up into a frenzy. (smiles mischievously)

S&L. I’d like you to tell me more about that connection that you had to make with the subject in order to come away with the type of shots that made your pictures so memorable. Because in truth you and I both know that that doesn’t just ‘happen’.

GG. I whipped the person up, the faster I went the more I got from them.

If I had a person who had big doubts about posing by the time I got to frame 10 on a roll of 12 I had them in such a state, ‘Oh, yes! Oh, yes! You can do it!’ It was embarrassing for me and I used to walk away dripping in sweat.

S&L. I remember.

GG. And with Gloria Hunniford I wasn’t feeling very good about myself in that moment, not very erudite. But someone like Gloria wanted to do that, she wanted an exciting picture so that made my job easier.

S&L. So there’s passion in there as well purpose and technique?

Keith and Richard Allen

Keith and Richard Allen

GG. Yes, yes. With me I just loved the whole picture taking process. I used a tripod, Multiblitz lights, a Norman battery flash. I would only buy lights on the basis that they recycled quickly. At that time I was shooting just on Kodak Ektachrome 64 ISO film.

Quite often the actual shot that was used was not anything that had been anticipated by me or the client. An example of this is this guy, Mark King from Level 42. That was taken in between shoots. He wanted to look cool and I was taking a picture with the intention to show how posh his surroundings were. He was supposed to be a rock ‘n’ roller so what was he doing in such a posh room? So I wheeled the drinks trolley in to show off his opulent surroundings.

Mark King, Level 42

Mark King, bass player with Level 42

GG. It’s the same with the picture of the guy from The Who… you know the one I mean, it’s the picture I have of him with the fish?

S&L. Roger Daltrey?

GG. I put that hat on him because I thought he looked someone out of The Archers.

Roger Daltrey

Roger Daltrey, rock vocalist

Later on he did an ad for Barclaycard and for part of it they had him wearing that hat. I don’t know whether it was significant or if they had seen my shot in The Sunday Times. Anyway I found it extraordinary that a man I’d imagined to be a hard bitten rock ‘n’ roller wanted to wear that hat. I’d considered people in that game were all head-bangers but they weren’t, they weren’t. Really they were just nice little boys. Just goes to show how stereotypes can catch you out!

S&L. Let’s look at the photo of PD James holding the dagger.

P D James, crime writer

P D James, crime writer

GG. She hated it!

The dagger was an award she’d received so I lit it to get the shine in the metal but she thought it was too posed. My view was, come on, you write thrillers that are no more affected than what I’m doing as a photographer. But she didn’t know how to refuse me.

I would always play on the positive aspects of what I was which was a mystery to many of the people I came into contact with. They didn’t expect someone like me and whereas they could accept David Bailey with his Cockney accent. Nobody had told them there was a rascal out there with an Irish accent who would take a powerful images of them.

GG. Now if we look at the portrait I did of Lord Rothschild, an image that I love, I’ll explain a little more about my process. I did this for The Field and I’ve always been particularly proud of the shoots that I did for them.

Lord Jacob Rothschild

Lord Jacob Rothschild

This was at a time when I’d decided to take a less complex approach to my shots. It was to illustrate an article about him as an art collector so I used the papier mâché dogs because there was nothing else available.

S&L. Well you should be proud of that shot, Gil, it’s fantastic and works so well.

GG. Working for that client always involved a tight brief whereas with The Obs and The ST the page would often be laid out depending on the picture I delivered. With The Field I was always having to look for shots that happened in just three quarters of the frame.

S&L. Was this because they were running them as a DPS (double page spread)?

GG. No, they ran as a page and a column so I always had to leave space for the gutter. For this reason I kept a mark on the Hasselblad focusing screen to show me where the gutter was going to sit. I picked that up from watching the way that Pearce (Marchbank) used to tape overlays on the camera screen when shooting Time Out covers. You must remember him doing that?

S&L. Yes, I do. I never saw anyone else do it but him yet it was so simple and obvious.

GG. I don’t want you to think that it was always plain sailing. Every now and then I made a mess of my shoot and the Bishop of Bath & Wells is one of those. He and I  just didn’t get along and I got quite angry. What’s more we drove all the way out there to photograph him and he didn’t even offer us a cup of tea. Can you believe that?

S&L. I sure can, some people can be like that.

GG. Incidentally I never judged people on their social status at all but rather on whether they offered me a cup of tea. I know is may sound bourgeois to say this but hospitality was so important and I would be a little nicer to those who offered that.

Hugh Cutsem, landowner

Hugh Cutsem, landowner

On that thought we’ll end part 2 of this interview and come back with the final piece shortly.

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(Another) 48 Hour Photo Project – 2013 – Post 5

Angie makes blue look slinky and eyebrows appear beyond redemption.

Angelika Wierzbicka 48

© Angelika Wierzbicka

There’s more of her work here on her URL

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Filed under Another 48 Hours, Phase One / Capture One, Studio portraits, Sudio photography

(Another) 48 Hour Photo Project – 2013 – Post 2

This time around we’ve got help in the form of loan equipment, advice, support, etc from the following partners:

The Flash CentreElinchrom flash, Go Pro‘s

Vemotion – video streaming over low bandwidth mobile phone network. Here’s the link to the stream:

http://www.vemotion.com/live/

Phase One – additional cameras to augment our existing kit, IQ 180’s & IQ 160’s

Eizo – a selection of high end FlexScan & ColorEdge 24 & 27 inch monitors for post-production

CJBS_24-06-13_022

© María Sotelo

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Filed under Another 48 Hours, Phase One / Capture One, Studio portraits, Sudio photography

Jordi Valls at the Centre Pompidou

Appearing as his performance artist alter ego, Vagina Dentata Organ, the Catalan surrealist Jordi Valls will make a one off appearance at the Centre Pompidou on 17 April 2013. This is to coincide with the presentation of Albert Serra’s latest feature film, “Els Tres Porquets” (The Three Little Piggies) that is more than 100 hours long and deals with the themes of Hitler, Goethe and Fassbinder.

X-process Neg Scan Test

I’ve had a long and fruitful personal and professional relationship with Jordi going back many years. we have collaborated photographically more than once producing visually striking images in both colour and black & white. In between times we’ve shared food, wine and dry Martinis at the American Bar of the Savoy Hotel.

This image was made by shooting on transparency film then processing it as if it where a negative to give false colour rendition before hand printing it onto photographic paper. The unpredictability of the method means that the final result can only be ascertained from a modicum previous experience, the rest is down to chance. This image was made entirely in camera, processed by Metro Imaging, printed by my Galician friend Carlos.

Details: Hasselblad Flex Body, 50mm Distagon, 1/60sec, f4. Kodak Ektachrome E100VS X-Processed in C41

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