SharpByCoop • Gallery of Customs

A few posts back I talked about my Dell 3007WFP-HC 30" monitor purchase. At the time I still hadn't plugged it in.

I have been working with this for about a month. I couldn't be happier! With real estate this large, I don't need a dual monitor setup. What I really wanted was to be able to view my images in Photoshop at 50% (16%/33%/66% all give pixelated views. You need to be at even 25% quarters to see clearly) Resolution is as fine as 2560x1600, but I find the 1900 setting best for me.

Check it out:

orig.jpg


The monitor includes a built-in card reading area, and extra USB ports. I find them very useful and fast.

orig.jpg


I also purchased a speaker kit that you see attached on the bottom for $30 from Dell. Not great quality, but I don't need more, and it's a tight, clean package.

The only drawback that I was worried about was the fact it was designed for a PC, and not a Mac. The software to change internal internal settings is PC based, so the only thing I can mess with is brightness. That said, someone at Mac or Dell was on the program, and I found a specific ICC profile with this model as an identifier installed on my system after a system update. That was pretty close, but I just used an Eye One (i-1) display calibration tool and created a custom ICC which is about perfect. My printer and the monitor produce the same output. (This is a photographer's dream!)

Anyway, I though some of you would find interest in this process. Opulent, indeed. :D

Coop
 
SharpByCoop said:
Natsuo asked if I would take a portrait shot for inclusion. And so I did a layout of my indoor studio. Yes, it's a bit staged, but this is all the ingredients I use daily. Shot with my pocket digicam also triggering a strobe on the left.

orig.jpg
Click to expand...

Jim - what is the V-shaped opening for at the top of the "tent"? Is that to allow the shot through? Not sure how to say it... :foot:
 
Hi Joss,

Yup. That's to fit my head or my lens. Crazily, that cutout makes a HUGE difference in getting the shot I want. Without it there just isn't enough overhead light for even light distribution on the bottom area of the image.

Someone is actually paying attention to this thread? ;)

Coop
 
I need to re-build my tent. This opening would make it much more difficult to roll the thing for storage. Hmm....

What is the diffusion material you use? Draft paper?
 
.003" draftsman's acetate tracing paper. I bought a roll, but you can buy it in sheets. The acetate is more durable than paper, and more translucent too.

Thanks, Kam. :)

Coop
 
orig.jpg


It's a well-known fact I use wallpaper as a background often. Also artist's papers and other things of this style. Today, I went and visited a buddy of mine who works in a wallpaper store to see about picking up some discontinued books.

He offered to me a couple of books with some REALLY lousy designs. :thumbdn: But.... there was a paper divider separating each section. Very 'floral'. Hmmmmm....

And today I had to get this trio of knives shot. Lemme see.

I added no insets. This shot has PLENTY of visual impact. More is less.

Sometimes you take a chance and it works. I like this shot. :thumbup:

Coop
 
Coop, otherwise, do you use the color wheel to select your backgrounds? Or do you just play it by ears?
 
Joss, it's an inexact art. I usually try to find something in my background repertoire that compliments the colors or contrasts ever so much. Often it's just a hunch. I usually know within a shot or two whether a combo has validity.

Often I will choose something and then--YUCK--it just doesn't seem to work. Back to the pile. Having that discipline helps. My proliferous website dealer work has an array of about 15 backgrounds I use. I don't try to get too creative on them, because this combo has been successful.

The lighting setup for each knife and the background choice is the most engaging area for me. I find I do NOT like to shoot in the evening because my energy level is low and I can't be creative on these important tasks.

Coop
 
Coop I like your choices and use of backgrounds very much.

With that said, on not big on using backgrounds myself. I never have been.
When I was a working photographer the majority of my work was in Black & White and for use in newspapers. White or grey was the choices. Even in my color work, I prefer white or grey. I really don't want anything taking the eye away from the subject. Plus I'm lazy, it takes a lot of work to select different backgrounds and props for a photograph. Besides, I was doing a lot of work, over 2,000 published photos a year. Also a lot of photos for advertising needed blank area for copy, that demanded clean, no pattern areas. Today I use those blank areas for my montages.

New photographers get so wrapped up trying to be creative with backgrounds and props, when they should be focusing their attention on the subject. I still insist if your can't take a good photo on a plain white background, then you can't take a good photo. I hope folks really take the time to study Coop's work; the lighting, the composition, the sharpness of his imagery. When you match that, you've made the progression from taking pics to making photographs. There is a difference. As there is between looking and seeing.

I think Coop will be the first to tell you, the aesthetic decisions that are second nature to him now didn't come to him overnight, they had to be developed. Not many will put forth the effort and time that he has, and continues to develope. Still follow his lead and you too can become great.
 
Hi Phil.

Thank you for your continued wisdom. By every measure the FIRST things a photographer has to do is get the lighting correct. Then the composition. The final hurdle may be to 'add' to the image with a background choice.

Above I mentioned that I have a short array of backgrounds I use for the dealers. They are all fairly plain. Without even fully understanding, this is why I stick with them.

And there are many who don't like insets and don't like the colored backgrounds, even when done 'correctly'. (All a matter of subjectivity.)

Thanks for adding to my conversation and this thread.

Coop
 
Yesterday, I had a BIG HONKIN' bowie I needed to shoot for a client. Very mysterious hamon hidden in the blade. Quality piece.

So I try every combination of lighting and masking to attempt to bring out this effect. Nothing works as well as I want. I shoot enough shots to give it (2) added insets.

Total amount of shots: 106! 90 minutes on one knife. Many with distinct changes between each. Upstairs I spend 30 mins composing the image and send it off for approval....

Client says it's nice. But, he would just as soon have a single sideview after seeing the final. Can I do this? Well of course I can. THAT would have been easy.... With my workflow, all my layers are flattened, so I need to start up from the original files.

This isn't a rant, just the facts. Lesson? Even with all the experience I have, I often struggle to capture what I wish, and even with the best of intentions the customer rules!

Coop
 
Beautiful Photos.

I need to photograph old bottles and vacuum tubes. I think your light box is just the ticket. Thanks for sharing- the parts list for the Light Box is a perfect start.


Thanks Mitch
 
jaislandboy, mitch: thank you! :)

One of my absolute favorite knives is made by my close friend, retired maker Hill Pearce. I shot this knife so long ago, I am embarrassed each time I want to show it off with an old photo.

So it was time for a current shot. 2008 SBC version of a 1984 HP knife.

orig.jpg


You might understand how this one knife has influenced my entire collection of fixed blades. :thumbup:

Coop
 
WOW Coop! I can see why you are so fond of that Hill Pearce. Also, without the views you provided, it would be impossible to see the level of workmanship that went into creating that masterpiece.

Thanks for the viewing pleasure,
Peter
 
H.P. has undoubltedly influenced my own style, check the similarities.
 

Attachments

  • Smith_JD08-ww.jpg
    Smith_JD08-ww.jpg
    86 KB · Views: 57
Thanks J.D. Not that you don't have a completely distinct style now, but I understand. :thumbup:

This one was an alternate image of one I posted in the Custom forum about Ron Best's work. Plain and simple. :)

orig.jpg


Another unposted image is this fine camp knife (possible Competition knife?), by Daniel Winkler for a member here. The owner liked the crinkled background. He felt it added to the rustic look.

orig.jpg


And lastly to qualify in the 'simply dazzling' department, I offer this triple lockback by Salvatore Puddu from Italy. This one stopped me dead in my tracks.

orig.jpg

(Knife courtesy of KnifeLegends.com)

Most knives of this nature are slipjoints with a firm backspring. This one adds the complexity of lockbacks and pivot pins and more. All this in one rectangle. It's shots like this that I feel I am at my strongest, as the composition is complex and yet all is clearly shown.

Tell me what YOU think. Yay or nay.

Coop
 
You must log in or register to reply here.
Back
Top