Does anyone know of a photographer in the North Jersey area to take some shots of some work I recently completed?
Thanks
Steve
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I don't have a recommendation, but there was an excellent thread on doing it yourself at 15318.2. I do know that professional photographers cost a fortune to do a professional job on furniture.
The lighting doesn't have to be fancy, just well positioned as suggested. A digital camera allows computer editing to change the "color" of the light, if it is too warm or cold, as well as other enhancements.
________________________
Charlie Plesums Austin, Texas
http://www.plesums.com/wood
I'm glad you popped up in this thread Charlie. I've been trying to email you off forum to carry on our exchange and all my emails bounce back. I've just emailed you via the link at your website, so maybe that will work.
As to the original question from skessler, I can't suggest anyone because I don't know that part of the world at all. But professional photographers certainly aren't cheap. I found the only way suitable for me was to learn how to use a camera myself.
Apart from the expense of a professional the major difficulty is the availablity of that professional at the exact moment when he/she is required. I suppose my requirements might be different to some other woodworkers for I need more than finished piece shots set against a plain background, in situ, etc.. I also need shots of work in progress in the workshop to illustrate manuscripts. I manage this with lots of lights and the time delay button on my camera, which is a twenty years old 35 mm film job with lots of controls.
Also, it's necessary for me to provide slides for certain images, digital for the internet, and prints for other needs, so the camera, some film and a scanner works for me, although I'd like to get a digital camera too at some point. I suspect I'm not much help to you really skessler, but even a point and press 35 mm camera like my Canon Sureshot bought in the eighties with an inbuilt flash can often take decent shots with a bit of practice.
The main thing is to use as much natural occluded daylight (e.g., cloudy day) as possible, something like 200 or 400 ASA film, buy a couple of slave flashes kicked off by the camera flash to infill dark areas, buy and learn how to use a light meter, and to use a plain background, such as a roll of white paper to stand your piece on. True, a good 35 mm camera with full manual control of the settings would be better, but at a push a point and press job can do quite well.
After you've got the basic tools, it's down to practice and learning from mistakes. Naturally, not everyone has the time to learn how to take decent photographs, nor the wish to spend the money on the equipment, but most photographic equipment can be purchased second hand which is one way of saving some money.
However, my one counsel against going the way I went is that photography, a necessity for this professional woodworker, can become something of an all encompassing hobby just as amateur woodworking can become an all encompassing hobby for others, lol. I'm not quite sure how it happened, but somehow I've got thousands of £'s worth of kit now! Slainte.RJFurniture
Richard, Well said. I'm glad I 'popped in' and saw your name. I have read many of your insightful comments and have enjoyed them immensely. I don't get this way too ofter, but am glad I did today. One can tell that you are a man who takes great pride in his workmanship. I plan to take a look at your website when done here now that I have the link. Having said that, I offer the following comments. I made my living many years ago doing commercial photography in the form of annual reports and the like. Those were the good ol'days when Kodachrome 25 and 64 (ASA/DIN) reigned supreme. A lot has changed since then. More than a lot, in fact. Todays digital cameras are incredible, but in my very humble opinion, dedicated flash on and off the camera is the icing on mum's fresh baked chocolate cake. Achieving correct flash fill using meters was never satifactory and always a gamble. I never liked it and used to have to use a Polaroid back to make sure I was getting the correct exposure or lighting result. With dedicated flash, life is good. Your exposures are always on the mark, the exception being if you are not using a digital lens then you will have to rely on a meter of some sort or your experience. Of late, I have never found need for a flash meter. In addition, being able to actually SEE what you JUST shot is also mind-boggling. Now, if someone was not old enough to have had that Kodachrom experience, then they in all probability will never appreciate the technology that they now have at their fingertips. Too bad because this gives many of these folks the impression that this is child's play. It is not. It is like everything else in life. You get out what you put in. No pain, no gain. I feel extremely fortunate that I have the experience that I have because having made the transformation from film to pixel, has made me appreciate the new technology ever more. I can now photo document my wood work or anything else as I choose. From there I go directly to my Powerbook and its done. No waiting for the film to get back from the lab or anything else associated with any of this. This is another big plus in this digital wonderland. You are absolutely correct when you mention the need for slave flash-fill. When photographing large objects (a cabinet) these are a must. It truly all boils down to what you want IF you know what you want and HAVE the skill to achieve it. You understand, I'm sure. If you ever have the opportunity, I believe that you would throughly enjoy all the benefits that the photographic digital realm has to offer. If you do you will feel as I did: But I have all of this camera stuff (investment). What will I do with it? Trust me my friend, you will not look back at any of this. I have a camera case full of old Nikon lenses and camera bodies, another case full of Hassie goodies. And there they sit. My Nikon D100 gets constant use. Fortunately, I can still use a few of my old non-digital lenses but only two find favor with me: the 55-mm micro, and the 20-mm wide angle. The 55 micro is still the only choice for taking wonderful close-ups and the 20-mm was just used recently to do some architectural work for a local builder in the Chicago area. I could go on but we both have work to do.If you have a moment you are welcome to take a look at two of my websites. They are quite rudimentary but do get the message across I believe. The first is of some of my wood work and the second is of my photography. http://homepage.mac.com/pabriles/ http://homepage.mac.com/pabriles/Photo_Portfilio/ Warm Regards,
Phillip
You mean 55 mm macro, don't you?
"I cut this piece four times and it's still too short."
The lens barrel has 'Micro-NIKKOR 55mm 1:3.5' followed by the serial number etched into it in white letters. Guess this makes it 'Micro' not macro wouldn't you say?Regards.
Phillip
I thought that was the series of the lenses, like Nikkormat, etc. I guess it may still have a macro setting, my first 80-200mm tele zoom did. Mine wasn't a true macro, but it worked for getting close. Did you do medium format at all?
"I cut this piece four times and it's still too short."
Phillip and highfigh,All camera lens makers, except Nikon (Nikkor lenses) refer to lenses whose focusing mechanisms can focus close enough to produce an image on film (or sensor) that is 1/4 life size or larger, as "macro lenses." Those lenses also allow focusing at "normal" distances all the way to infinity just like all other "normal" lenses.That close focusing range is the "macro" range. Photographers using any brand but Nikon refer to all those lenses as "macro lenses," as in, "My Canon 100 macro."Nikon calls all its equivalent lenses, "Micro-Nikkor." While photographers might refer to their particular Nikon lens by its formal name, "My 105 Micro-Nikkor" or "My 60 Micro-Nikkor," they also call those lenses by their generic descriptor, "macro lenses."Photography which reproduces the subject 1/4 life size or larger is called "macrophotography" or "photomacrographs."The rest of the photography industry calls only those lenses which are fitted to microscopes, "micro" lenses. Photography done with such equipment is "photomicrography" or "microphotography." Although such photography still meets the definition of macrophotography as the image produced far exceeds 1/4 the size of the subject.Clear, no?Rich
Funnily enough Phillip, I've just joined the digital photography age. The nagging queen has just got back from a trip to Murkaland where she picked up a digital job apparently quite highly discounted to about $250. So now I can experiment with the format.
All I know so far is that it's Konica Minolta Dimage Z10 3.2 Mega Pixels, with a zoom lens of some sort and it seems to have manual control. She also purchased some sort of upgraded memory card.
I guess it'll take a wee bit of time to work out how it operates--- but if all else fails I can always resort to reading the instruction book, ha, ha.
I'll take a look at those websites when I get time. Slainte.RJFurniture
Congratulations, Sgian!I know nothing of the Konica that the 'nagging queen' was nice enough to purchase for you. I'd be happy to assist you as you travel along on this digital adventure in any way I can. Todays cameras are very sophisticated so I doubt you will be using the manual control that you refer to so often. I will say that I do use the Nikon system in manual but only when I use older lenses which lack all of the digital bells and whistles, i.e., auto-focus, etc.At any rate, good luck.Regards,
Phillip
Okay Phillip, I had a look. Interesting work, both furniture and photography. You evidently have talent for both. I guess I'd call those 'vanity' websites, and there's nothing wrong with that. With some work you could probably develop them into sales outlets if you wanted to. Slainte.RJFurniture
Sgian,Thank you very much for taking your time to have a look at my 'vanity' web sites. I currently am working on creating a QuickTime movie for each of these sites. It would be much more sophisticated and all you would have to do is click one button an off it goes. A DSL connection would help immensely as photos take some time to view.BTW, your work is very nice. It reflects your incredible skill, experience and dedication to our craft. I have no way of knowing, but I can only assume that you are enjoying success as you rightfully should. As for me, I have found it very difficult to sell my work. I have used several galleries in New Mexico with very little success. I do not consider that failure, just an experience. I do not work wood to make a living which is a blessing as I see that today most full-time craftsmen are either changing career's (Scott Schmidt of Boston closing the doors after 25 or so years) or traveling the lecture circuit as do Garrett Hack, et al. Or else they have in-house workshops to help pay the bills. As best I can tell, we have become a 'throw away' society so have little interest in buying quality furniture.James Krenov is my mentor. God Bless the man! He is responsible for all I know as it was his writings which so impassioned me to pick up the saw and wood gouge, so to speak. My Grandfather, who was of Spanish origin, was also a wood craftsman of sorts and made many fine pieces for my Grandmother. I loved his work and have no doubt that what he did became ingrained in me because they raised me.At any rate, it is my belief that today's wood craftsman has a tough task ahead of him if he plans to put more than beans on the table. This past December I was in a local gallery here in Oak Park which was featuring the work of a furniture craftsman (wood) for the weekend. He was in a somber mood going from piece to piece with his Danish oil as attendee's simply smiled, looked around, and then left. I felt his pain and whispered a prayer for him. Again, we have absolutely no appreciation for fine, handcrafted work.I apologize for my soap-box tantrum. Best of luck to you.Warm Regards,
Phillip
Ah well Phillip, I'm another of those woodworkers that's slipped over to the dark side. I no longer work the tools full-time. I now teach the subject of furniture design and making which affords me the luxury of being choosy about what jobs I'm willing to do in my spare time for nit-picking and tight-walleted customers-- basically, that type of customer can get lost.
In a previous life I ran my own full-time furniture business where I'd essentially do any old job for folding readies. I'd like to get back to it, but hell, I've been doing this wood-whacking game for thirty years or more now and forgotten more tricks than most people learn in a lifetime, but making a decent self supporting living at it is pretty hard. Slainte.RJFurniture
Sgian,My friend, you sadden my heart. But what you say is what is see more and more these days. I took a look at your web site and your pieces are wonderful. Very refined and sophisticated. I do recall reading one of your posts where you mentioned that you taught. It is a shame that a man can spend that many years dedicated to a craft that is no longer appreciated. I suppose that is not entirely true, but reasonable nonetheless. I'll buy the first pint.When we first moved to Oak Park in December of 2004, my 'financial advisor' wanted to go to IKEA for some ready made - well, not assembled, that comes later - furniture. First of all, I know IKEA like I know the Queen - I have NO IDEA. We get there, the place is a ZOO. Like being inside of a friggin' ant hill. And the place is HUGH. Three stories wall-to-wall with everything humans put inside of a house. People buying stuff by the truckload.I hear later on CNN that the owner(s?) of the joint are some of the wealthiest on the planet. Move over Elton. Not bad for selling stuff made in China and veneer covered particle-board from Switzerland. Apparently, its a big hit with those who walk upright and have cash to spend on the stuff but have no idea what quality is. And it's NOT quality? No way! Well, wait a minute. I suppose that really depends on what your circumstances are. I need to be careful least I overstep my bounds. Must be mindful of my manners. Sorry.Krenov says this many times in his writings. The same exact thing. Buy junk. Toss it out. Buy more junk. Toss it out, too. No wonder our garbage, junk piles are so hugh and vile in the larger metropolitan areas. Someone should pass an anti-furniture-junk law. Need to do something.Fine furniture is a thing of beauty. It is a symphony of skill, craftsmanship, and art. People can't keep their hands off of it. They WANT to touch. The fingers send back sensory messages of smoothness and sensual curves. The eyes bask on the laser-like joinery where stile meets rail, the delicate balance of design, the magnificence of the grain as the sunlight dances across the top, ... But no, lets just get the thing out of the box. I'll go get the screwdriver while you read the instructions, then we'll put the bloody thing together. I just don't know.Krenov's last book 'With Wakened Hands' is a tribute to his students. His purpose in this book was to gain some exposure for his students. He wanted the world to see what great craftsmanship really was. And he succeeded. Their work is amazing. There must be some folks who will pay for these wonderful works. I just believe that we want to be instantly gratified so will settle for mediocrity rather than wait for a bona fide piece of furniture with true value which can be passed on from generation to generation. I'm off the box. Take care.Regards,
Phillip
PhillipB,
But isn't all this 'quality furniture' talk really just relative? For instance, the recent thread discussing the Goddard side table...it's value, beauty, quality, etc....well deserved praise. I sometimes wonder though, wasen't stuff being produced in England of similar and (God forbid) maybe better quality? It just doesn't make sense to me that country of orgin should have that much impact on the quality/value factor...it certainly does not impact the value of artsy/fartsy stuff.
Achieving correct flash fill using meters was never satisfactory and always a gamble. ...
I use to have a guy come in for photos for our Service Manuals.. Photos of metal is HARD!.. He use this big old wooden camera and glass plates? Whatever.. He would run all over the place with a lamp and a reflector.. I'd laugh at him but BEAUTIFUL pictures....
By the way.. All beautiful but I just loved that Spanish Eyes.. But then again I'm a MAN!
Edited 2/4/2005 1:37 pm ET by Will George
Will,If you think metal is difficult, try photographing jewelry. Jewelry has a million different flat surfaces (facets) that must be taken into account not to mention the metal finding as well. That, my friend, requires a very special setup, but as I said somewhere else, doing good - BEAUTIFUL, as you call it - photography takes experience and skill and that's what separates the wannabee's from those that 'git'er done'.Thanks for taking a look at my rudimentary websites and for your kind remarks.Regards,
Phillip
Like anyone else in business, professional photographers advertise, I'd try the Yellow Pages first. You can do it yourself with some practice, but a pro is worth the money they charge.
John W.
I can vouch for Charlie's suggestion! I spent what I thought was good money to have some shots done of two small pieces that I made. I was disappointed enough in the results to get myself motivated to shoot my own. I shot up four rolls of film, recorded the exposure data and took the film to Wal-mart for 1 hour processing.
I came up with shots that were much better that the ones I got from the studio. Now I have my little "photo sudio" equipment set aside in my shop and pretty much know how to set up and where to start exposure wise.
I remember the thread that Charlie spoke of. It was great! It would have saved me quite a bit of trial and error if it had come out before I took my photos, but that's luck for ya'!
Enjoy!!
Mack
"WISH IN ONE HAND, PLACE SMELLY, FOUL AND USELESS MATERIAL IN THE OTHER; SEE WHICH FILLS UP FIRST"
I am an architectural photographer located in North Jersey. You can see some of my work @ http://www.615PhotoGraphics.com
Thanks
Fellow Photgraphers,
I flatter myself to say I'm one of your fellows, but daring has always been one of my traits.
As a retired photgrapher of people, things and news I am happy to see things still progressing. It was a privelege to review your websites and see the work you do.
CIPPHOTO,
I have a question about some of your very nice portraits. I was never a fan of the 'dutch tilt' in either still portraits or video (especially not video). I was trained by those who felt it wasn't proper. I do see, however, the technique is used by many. I've never had the chance to ask a pro about it. What are your feelings about it? Am I being to rigid? Perhaps I should get out more. :>)
I'm no longer in the business at the end of my seventy-second year, but it continues to hold my interest.
By the way, please don't take my question as criticism.
Best regards,
Don
One idea is to contact a local college photography class. When I was studying photography oft times I'd have studio time and no good subject.
In those classes your concerned with lighting and composition, subject matter way down the list. Any intermediatte student would probably leap at the chance to do it for free or cheap.
I sure would have.
Notrix
SKessler,
I do my own photography with a backdrop and a digital camera. You can see some of the results on my website -- click my signature name. I bought a 9' wide snow white seamless paper backdrop from Amvona in NYC; total with shipping was about $65. Then, I got two 4' shoplights and 4 daylight (6200k) bulbs from Lowe's. I mounted the shoplights vertically on 2x4's. When I shoot my pieces, I position the shoplights at about 45* on either side. I have a Sony Mavica MVC-FD95 digital camera and set the flash to fill. I have the backdrop suspended from my garage ceiling on a 1.25" closet dowel. It takes only a few minutes to pull the backdrop down and position a piece for photos.
Regards.
Bill Arnold - Custom Woodcrafting
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