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10-29-2008, 10:21 AM   #31
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QuoteOriginally posted by falconeye Quote

The real story, of course it that the K20D is able to render all pixels.
as opposed to picking them out of a hat?

(my serious question is masked in a funny)

I know that you have way more insight into the workings of cameras than most people here, are you then saying that some of the other brands are not as *efficient* with their sensor realestate like the K20D?

10-29-2008, 02:55 PM   #32
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QuoteOriginally posted by Samsungian Quote
You are a master photographer. I wonder are you using either Antishake or Tripods when working? Do you find antishake function improved with K20D over K10D?
Hello;

I never use anti-shake when shooting. I use shake as part of my technique quite often. I only use tri-pods when shooting still life.

Ben
10-29-2008, 03:31 PM   #33
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QuoteOriginally posted by falconeye Quote
Interesting story.

You say "close to A2" and A2 at 240 dpi resolves 22 MPixels at most, so the 15 MP of the K20D haven't been a limiting factor, indeed.

The real story, of course it that the K20D is able to render all pixels. Which has a lot to do with an excellent lens, exact focus and good lighting.
I print at 300 dpi.

Ben
10-29-2008, 04:48 PM   #34
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QuoteOriginally posted by benjikan Quote
Hello;

I never use anti-shake when shooting. I use shake as part of my technique quite often.
I can't figure out when you could use shake as part of your technique when doing fashion photography. Care to point out an example of this?

Excellent shot by the way!

/Tommy

10-30-2008, 03:22 PM   #35
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QuoteOriginally posted by Tommy Quote
I can't figure out when you could use shake as part of your technique when doing fashion photography. Care to point out an example of this?

Excellent shot by the way!

/Tommy
Just go to these links:

Guardian Angel photo - Benjamin Kanarek photos at pbase.com
Paul & Joe for Spring Mag- Cover Photo photo - Benjamin Kanarek photos at pbase.com
In the mood photo - Benjamin Kanarek photos at pbase.com
"Eklektik Elektrik" photo - Benjamin Kanarek photos at pbase.com
Guardian Angel photo - Benjamin Kanarek photos at pbase.com
http://www.pbase.com/benjikan/image/96849454

Just a few examples all shot between 1/4 and 1/15 the of a second.

Ben

Last edited by benjikan; 10-30-2008 at 03:34 PM.
10-30-2008, 10:32 PM   #36
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The key here is that Ben seems to be using the flash to still get a sharp image, but with some nice blur added in from the ambient.
10-31-2008, 12:16 PM   #37
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QuoteOriginally posted by Gooshin Quote
are you then saying that some of the other brands are not as *efficient* with their sensor realestate like the K20D?
Sorry for the confusion. No, I meant something as simple as: A camera with many pixels does not automatically yield better images. Main reasons for less than optimal usage of available pixels are: Out of focus, shake, bad lens, bad AA filter, too aggressive denoising, bad raw conversion. So, the K20D focus in Ben's images worked very well and the lens were superb as well. And lighting and Ben's experience eliminated the rest. That's all I wanted to say. Namely, that the K20D's 15MP are usable, actually.

Note that fashion photography should not be in bad demand for MF, because is uses plenty of light. Colour film, on the other hand, typically only produced 40 lp/mm and needed MF for the resolution.
11-01-2008, 07:47 AM   #38
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QuoteOriginally posted by falconeye Quote
Sorry for the confusion. No, I meant something as simple as: A camera with many pixels does not automatically yield better images. Main reasons for less than optimal usage of available pixels are: Out of focus, shake, bad lens, bad AA filter, too aggressive denoising, bad raw conversion. So, the K20D focus in Ben's images worked very well and the lens were superb as well. And lighting and Ben's experience eliminated the rest. That's all I wanted to say. Namely, that the K20D's 15MP are usable, actually.

Note that fashion photography should not be in bad demand for MF, because is uses plenty of light. Colour film, on the other hand, typically only produced 40 lp/mm and needed MF for the resolution.
Your quote

"Note that fashion photography should not be in bad demand for MF, because is uses plenty of light"

May not always be the case. In much of my work, I start from the opposite end of the spectrum, i.e. total darkness and slowly add light where desired. Often, I strive to get no more than f2.8-f4.0 of light on the model and let the rest go where it may, i.e. f1.0-f2.0.

Ben

11-01-2008, 08:11 AM   #39
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QuoteOriginally posted by benjikan Quote
In much of my work, I start from the opposite end of the spectrum, i.e. total darkness and slowly add light where desired. Often, I strive to get no more than f2.8-f4.0 of light on the model and let the rest go where it may, i.e. f1.0-f2.0.
Ben, yes. But you are an artist of light (and shadow). In this respect, your work is outstanding and I like it. Most fashion photography (as seen in my girlfriend's magazines ) is pretty dumb in comparison...
11-01-2008, 08:31 AM   #40
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Wow Ben.

I don't think you intended it, but with you dropping tidbits here and there, this thread is exposing more and more of your studio technique... I didn't think you'd come out of the box with some stuff. I know you won't give away all your secrets.

BTW, off topic, have you ever consider writing a book? And do you have any students or done any seminars?

And generally, how much leeway do you yourself get with art directors? A lot tend to micromanage a project to death. As a designer, I've been there, making horrible design decisions to please "Mr AD"...
11-01-2008, 11:38 AM   #41
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QuoteOriginally posted by Marcus Quote
Wow Ben.

I don't think you intended it, but with you dropping tidbits here and there, this thread is exposing more and more of your studio technique... I didn't think you'd come out of the box with some stuff. I know you won't give away all your secrets.

BTW, off topic, have you ever consider writing a book? And do you have any students or done any seminars?

And generally, how much leeway do you yourself get with art directors? A lot tend to micromanage a project to death. As a designer, I've been there, making horrible design decisions to please "Mr AD"...
I have been considering doing a book for some time now. More to do with Fashion than technique. I usually get carte blanche when shooting with AD's, as it is my style that they have hired me for, therefore I just have to adhere somewhat to the layout. As I am also a CD for my own agency, I can understand the dynamics involved with working on both sides i.e. the conception and the operational aspects of the process.

Ben
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Last edited by benjikan; 11-02-2008 at 05:32 PM.
11-02-2008, 04:21 AM   #42
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QuoteOriginally posted by krypticide Quote
The key here is that Ben seems to be using the flash to still get a sharp image, but with some nice blur added in from the ambient.
That is almost correct...Pretty close!

Ben
11-02-2008, 07:16 AM   #43
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Dear Ben, that was a very nice shot. Seems to me that you are entering new heights with your creativity nowadays, entering new borders where no man has been before.
11-02-2008, 02:13 PM   #44
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Ben, where is your mind set on as you go through the conceptual process? What I'm trying to say, is what are the influences to your style?

Your own commentary on your works and on the concepts you push and pull would be very intersting in a book. Or anywhere for that matter. I love getting into the minds of creatives.
11-02-2008, 06:54 PM   #45
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QuoteOriginally posted by Marcus Quote
Ben, where is your mind set on as you go through the conceptual process? What I'm trying to say, is what are the influences to your style?

Your own commentary on your works and on the concepts you push and pull would be very intersting in a book. Or anywhere for that matter. I love getting into the minds of creatives.
Its very simple, Ben never sleeps, he works very hard and he lives and breathes the industry he works in. Art is as much about intuition as anything else and that comes from understanding something as completely as possible.

Actually, I think Ben's greatest talent is in exploiting what he finds on location. Most well trained classic photographers can exploit a fully equipped studio, but Ben can turn a shabby courtyard or apartment he's never seen before into a backdrop for a story and that takes real imagination and spontaneous creativity. He doesnt always need a load of expensive gear either.

Its all about having the knowledge to know what is required, the imagination to visualise the right product and the technical skill to achieve it. Most pro photographers can do 2 (with a bit of directing from the AD) and 3 (in well controlled conditions). Only the top few can do all three whatever the conditions.
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