Comments for A Photo Editor http://www.aphotoeditor.com Photography Director Rob Haggart Sun, 05 Jul 2009 00:33:42 +0000 http://wordpress.org/?v=2.7 hourly 1 Comment on Industrial Color Helps Photographers Shoot The RED One by joe http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-47047 joe Sat, 04 Jul 2009 23:37:05 +0000 http://www.aphotoeditor.com/?p=3483#comment-47047 @Westering Fever, if you are shooting bruce willis for free then you need to be put up against a wall and shot, god what are you smoking man you really do have a fever @Westering Fever, if you are shooting bruce willis for free then you need to be put up against a wall and shot, god what are you smoking man you really do have a fever

]]> Comment on List of Photography Consultants by arindam banerjee http://www.aphotoeditor.com/2008/02/04/list-of-photography-consultants/comment-page-1/#comment-47010 arindam banerjee Sat, 04 Jul 2009 19:21:12 +0000 http://aphotoeditor.com/2008/02/04/list-of-photography-consultants/#comment-47010 I am looking for someone who can actually help me to sell my fine art work. It is tough to decide , until and unless you get a first hand experience form somebody. Does anybody know any consultant like this? Thanks Arindam I am looking for someone who can actually help me to sell my fine art work. It is tough to decide , until and unless you get a first hand experience form somebody. Does anybody know any consultant like this?

Thanks
Arindam

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Brett Deering http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46995 Brett Deering Sat, 04 Jul 2009 15:20:31 +0000 http://www.aphotoeditor.com/?p=3483#comment-46995 @Gordon Moat, Exactly, and that's already a problem.... @Gordon Moat, Exactly, and that’s already a problem….

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Alan Matthews http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46966 Alan Matthews Sat, 04 Jul 2009 11:01:24 +0000 http://www.aphotoeditor.com/?p=3483#comment-46966 @Donnar Party, Yeah I know. I think what I'm saying is change is coming but how fast is a question. I think the rates are too high and the complexity is too great for such early adoption and early panic. @Donnar Party,
Yeah I know. I think what I’m saying is change is coming but how fast is a question. I think the rates are too high and the complexity is too great for such early adoption and early panic.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Donnar Party http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46943 Donnar Party Sat, 04 Jul 2009 07:00:48 +0000 http://www.aphotoeditor.com/?p=3483#comment-46943 @Alan Matthews, I thought the same thing with digital. One day I was loading my 12 RZ backs with Provia, the next day I was on line for a 1ds. @Alan Matthews, I thought the same thing with digital. One day I was loading my 12 RZ backs with Provia, the next day I was on line for a 1ds.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Donnar Party http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46942 Donnar Party Sat, 04 Jul 2009 06:57:44 +0000 http://www.aphotoeditor.com/?p=3483#comment-46942 @bb, yes. But pure still grabs will be a pain in the ass, so they will simply use the new Red cameras which should allow the camera to be used like a medium format camera for a stills portion, perhaps during rehearsal. Then it could be used with strobes as well if thats your thing. @bb, yes. But pure still grabs will be a pain in the ass, so they will simply use the new Red cameras which should allow the camera to be used like a medium format camera for a stills portion, perhaps during rehearsal. Then it could be used with strobes as well if thats your thing.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Donnar Party http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46941 Donnar Party Sat, 04 Jul 2009 06:55:05 +0000 http://www.aphotoeditor.com/?p=3483#comment-46941 @Sergey, translation services is a growing field, perhaps look into that line of work. But seriously, as magazines die and are reborn on the web, the magazine stills shooter must follow. The future of web is in motion. Its not like stills will be gone, but they will be marginalized to the point you may be looking for a different or additional job, like web design or video editing. I make gaf, act as DP, shoot stills, write, produce, whatever, but its mainly motion. Two years ago it was all stills. @Sergey, translation services is a growing field, perhaps look into that line of work. But seriously, as magazines die and are reborn on the web, the magazine stills shooter must follow. The future of web is in motion. Its not like stills will be gone, but they will be marginalized to the point you may be looking for a different or additional job, like web design or video editing. I make gaf, act as DP, shoot stills, write, produce, whatever, but its mainly motion. Two years ago it was all stills.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Alan Matthews http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46924 Alan Matthews Sat, 04 Jul 2009 03:30:12 +0000 http://www.aphotoeditor.com/?p=3483#comment-46924 I agree this should have a note at top "Special Advertising Section" This convergence is still a few years off but the novelty is enough to scare the heck out of photographers who suddenly think they will be out of a job unless they learn a new trade. .Net coding language or java eventually gained footholds over Cobol but guess what? There are still Cobol programmers and banks still being run by millions of lines of Cobol code. What makes anyone think that overnight or in the span of a year or two video and frame grabs are going to supersede still photography? Was it Virtual Reality at one time that threatened to replace the need for live actors? Or now who is sick of yet one more animated movie? The novelty has so worn off and I predict so too will the novelty of Red One as the revolution. But I may brush up on my video and editing skills JUST in case. I agree this should have a note at top “Special Advertising Section”

This convergence is still a few years off but the novelty is enough to scare the heck out of photographers who suddenly think they will be out of a job unless they learn a new trade.

.Net coding language or java eventually gained footholds over Cobol but guess what? There are still Cobol programmers and banks still being run by millions of lines of Cobol code. What makes anyone think that overnight or in the span of a year or two video and frame grabs are going to supersede still photography?

Was it Virtual Reality at one time that threatened to replace the need for live actors? Or now who is sick of yet one more animated movie? The novelty has so worn off and I predict so too will the novelty of Red One as the revolution.

But I may brush up on my video and editing skills JUST in case.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by bb http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46868 bb Sat, 04 Jul 2009 00:05:49 +0000 http://www.aphotoeditor.com/?p=3483#comment-46868 the real conversation here should be that ad agencies will be shooting broadcast commercials and just pulling still frames for there print campaigns. the photographers who are also directors will get the opportunities for these kind of productions. or else in many cases the photographer will get bypassed and the agency (i'm talking about ads) will say they own all the footage of the commercial. thus, goodbye to the © and usage agreements that have always been apart of ad shooting's revenue. the real conversation here should be that ad agencies will be shooting broadcast commercials and just pulling still frames for there print campaigns. the photographers who are also directors will get the opportunities for these kind of productions. or else in many cases the photographer will get bypassed and the agency (i’m talking about ads) will say they own all the footage of the commercial. thus, goodbye to the © and usage agreements that have always been apart of ad shooting’s revenue.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Wolf189 http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46817 Wolf189 Fri, 03 Jul 2009 21:12:51 +0000 http://www.aphotoeditor.com/?p=3483#comment-46817 Regarding Honeymoon hotel set in W: (just a personal opinion of course) Page 46 and 47: Emma Willis seems under exposed, specially in a comparison with lighting situation on Bruce Willis, while she is supposed to be the shock value of the shot...so it's not a nitpick on aesthetic but a nitpick on "if aesthetic is serving the concept properly". Lack of control in the camera? Page 48 and 49: The mood and Emma are beautiful but I can't stop looking at the shiny faucet (because of a sharper focus and reflection)...which makes it like a futuristic ad for kohler faucets. Again, perhaps the control in RED camera for still shots won't work at all times....or is it hard to find the right shots? Page 50 and 51: Since reflection is the main concept, the mood and aesthetics work together. Page 52 and 53: The soft focus on Emma does not translate into motion nor the silhouette of Bruce Willis translate into mystery (it's too bulky and flat)....again in my opinion focus and exposures and shutter speed (can we say that?) are not helping the concept. Page 54 and 55: nice focus perhaps because of a still pose and nicer lighting on Emma, however the texture of the wall and sharp focus on the yellow railing steals the show just a bit... Page 56 and 57: interesting but mostly a set filler...although I like the subtle movement on the bracelet, but it feels more shaky than a movement really. Page 58 and 59: Sharper focus on Emma's knee than Emma's face...intentional? I think perhaps we can detect a pattern here. Page 60 and 61: Soft on Bruce and Emma? to create an atmosphere? not really sure...my guess is not. Page 62 and 63: Under exposure is apparent for/on relevant dramatic elements in the image. Page 64 and 65: focus and exposure and lack of proper texture cheapens the shot in my opinion...it does read well with the rest of set....the concept is fun of course. Page 66 and 67: while the lovely post work on Emma has created a beautiful aesthetic, the motion in Bruce's head and hand seems too soft without any intensity .... it's simply too mushy... In my humble opinion, the camera "probably" doesn't give enough control to photographers who are after precise aesthetics... then it becomes a very expensive gimmick tool (to create/imitate certain looks) ...or if it does give the power of control, it's not evident in the W set (while in a quick review it's a very attractive and eye catching story of course) Regarding Honeymoon hotel set in W: (just a personal opinion of course)

Page 46 and 47: Emma Willis seems under exposed, specially in a comparison with lighting situation on Bruce Willis, while she is supposed to be the shock value of the shot…so it’s not a nitpick on aesthetic but a nitpick on “if aesthetic is serving the concept properly”. Lack of control in the camera?

Page 48 and 49: The mood and Emma are beautiful but I can’t stop looking at the shiny faucet (because of a sharper focus and reflection)…which makes it like a futuristic ad for kohler faucets. Again, perhaps the control in RED camera for still shots won’t work at all times….or is it hard to find the right shots?

Page 50 and 51: Since reflection is the main concept, the mood and aesthetics work together.

Page 52 and 53: The soft focus on Emma does not translate into motion nor the silhouette of Bruce Willis translate into mystery (it’s too bulky and flat)….again in my opinion focus and exposures and shutter speed (can we say that?) are not helping the concept.

Page 54 and 55: nice focus perhaps because of a still pose and nicer lighting on Emma, however the texture of the wall and sharp focus on the yellow railing steals the show just a bit…

Page 56 and 57: interesting but mostly a set filler…although I like the subtle movement on the bracelet, but it feels more shaky than a movement really.

Page 58 and 59: Sharper focus on Emma’s knee than Emma’s face…intentional? I think perhaps we can detect a pattern here.

Page 60 and 61: Soft on Bruce and Emma? to create an atmosphere? not really sure…my guess is not.

Page 62 and 63: Under exposure is apparent for/on relevant dramatic elements in the image.

Page 64 and 65: focus and exposure and lack of proper texture cheapens the shot in my opinion…it does read well with the rest of set….the concept is fun of course.

Page 66 and 67: while the lovely post work on Emma has created a beautiful aesthetic, the motion in Bruce’s head and hand seems too soft without any intensity …. it’s simply too mushy…

In my humble opinion, the camera “probably” doesn’t give enough control to photographers who are after precise aesthetics… then it becomes a very expensive gimmick tool (to create/imitate certain looks) …or if it does give the power of control, it’s not evident in the W set (while in a quick review it’s a very attractive and eye catching story of course)

]]> Comment on Ryan McGinley - Jeans Photographer by craig http://www.aphotoeditor.com/2009/06/30/ryan-mcginley-jeans-photographer/comment-page-1/#comment-46812 craig Fri, 03 Jul 2009 19:47:00 +0000 http://www.aphotoeditor.com/?p=3468#comment-46812 @TO, Leonardo Davinci didn't paint most of his own paintings. Nor did most of the other renaissance artists. Does anyone pay attention to who's behind the camera in movies? no, its the director... this is why art direction tends to get more respect than the crew carrying it out... @TO,

Leonardo Davinci didn’t paint most of his own paintings.

Nor did most of the other renaissance artists.

Does anyone pay attention to who’s behind the camera in movies? no, its the director…

this is why art direction tends to get more respect than the crew carrying it out…

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by craig http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46811 craig Fri, 03 Jul 2009 19:16:24 +0000 http://www.aphotoeditor.com/?p=3483#comment-46811 @Matthew G. Monroe, You nail it on the head here. I'm sure the bean counters on major productions are drooling by the thought of "hey, we don't need a stills guy, we'll just grab some frames from this new fancy digital motion camera!" But then the technical quality issues of having everything shot at the equivalent of 1/30th of a second, or then the problem of focus being slightly off from frame to frame as the focus puller moves... You point out that shoot at a higher speed and then use some voodoo in post to "fix" the stutter... but the cost of doing that + handling the increase amount of data from using a higher shutter would negate any savings of not hiring a stills photog. The death of still photography is greatly exagerrated... @Matthew G. Monroe,

You nail it on the head here. I’m sure the bean counters on major productions are drooling by the thought of “hey, we don’t need a stills guy, we’ll just grab some frames from this new fancy digital motion camera!”

But then the technical quality issues of having everything shot at the equivalent of 1/30th of a second, or then the problem of focus being slightly off from frame to frame as the focus puller moves…

You point out that shoot at a higher speed and then use some voodoo in post to “fix” the stutter… but the cost of doing that + handling the increase amount of data from using a higher shutter would negate any savings of not hiring a stills photog.

The death of still photography is greatly exagerrated…

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Sergey http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46805 Sergey Fri, 03 Jul 2009 18:46:23 +0000 http://www.aphotoeditor.com/?p=3483#comment-46805 @Westering Fever, COMPLETELY WRONG. it just lowers costs for publishers while lowering profits for photographers. i'm glad i just do editorial and travel, good luck guys. @Westering Fever,

COMPLETELY WRONG.

it just lowers costs for publishers while lowering profits for photographers.

i’m glad i just do editorial and travel, good luck guys.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Sergey http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46800 Sergey Fri, 03 Jul 2009 18:21:35 +0000 http://www.aphotoeditor.com/?p=3483#comment-46800 camera stills is b-ulls-hit. it completely defies the very concept of photography. what about 16 RED cameras around a subject and people paid to sort the good stills ? if this is the future i'm better getting another job. camera stills is b-ulls-hit.

it completely defies the very concept of photography.

what about 16 RED cameras around a subject and people
paid to sort the good stills ?

if this is the future i’m better getting another job.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by ericF. http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46791 ericF. Fri, 03 Jul 2009 15:19:51 +0000 http://www.aphotoeditor.com/?p=3483#comment-46791 @Peter Dawson, And imagine the bill when you add the prices of the HMI's... Oh boy. @Peter Dawson,

And imagine the bill when you add the prices of the HMI’s… Oh boy.

]]> Comment on Light breakfast - David Sykes Photography by mitja http://www.aphotoeditor.com/2009/06/26/light-breakfast-david-sykes-photography/comment-page-1/#comment-46789 mitja Fri, 03 Jul 2009 15:11:12 +0000 http://www.aphotoeditor.com/?p=3450#comment-46789 Super. The green of the table sheet and its pattern is great. Like the vignetting as well Super. The green of the table sheet and its pattern is great. Like the vignetting as well

]]> Comment on Fortune’s Homage To Kodachrome by Andre Friedmann http://www.aphotoeditor.com/2009/06/27/fortunes-homage-to-kodachrome/comment-page-1/#comment-46788 Andre Friedmann Fri, 03 Jul 2009 15:02:14 +0000 http://www.aphotoeditor.com/?p=3455#comment-46788 The Getty Museum in Malibu showed "Americans in Kodachrome" in 2004, ninety-two dye transfer color prints. A crazy printer named Guy Stricherz made them exclusively from little Kodachromes he'd borrowed, pictures captured between 1945 and 1965. Years ago Bruce Davidson remarked about this kind of printing: "they bake with real butter." The Getty Museum in Malibu showed “Americans in Kodachrome” in 2004, ninety-two dye transfer color prints. A crazy printer named Guy Stricherz made them exclusively from little Kodachromes he’d borrowed, pictures captured between 1945 and 1965. Years ago Bruce Davidson remarked about this kind of printing: “they bake with real butter.”

]]> Comment on Ryan McGinley - Jeans Photographer by Chiedozie http://www.aphotoeditor.com/2009/06/30/ryan-mcginley-jeans-photographer/comment-page-1/#comment-46767 Chiedozie Fri, 03 Jul 2009 12:46:29 +0000 http://www.aphotoeditor.com/?p=3468#comment-46767 @Brady, Well Said! @Brady,

Well Said!

]]> Comment on Ryan McGinley - Jeans Photographer by Chiedozie http://www.aphotoeditor.com/2009/06/30/ryan-mcginley-jeans-photographer/comment-page-1/#comment-46759 Chiedozie Fri, 03 Jul 2009 12:09:58 +0000 http://www.aphotoeditor.com/?p=3468#comment-46759 @Adam, Well said! @Adam,

Well said!

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Kwaku Kufuor http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46725 Kwaku Kufuor Fri, 03 Jul 2009 07:09:40 +0000 http://www.aphotoeditor.com/?p=3483#comment-46725 @Peter Dawson, You are right; especially if you're really a strobe user. @Peter Dawson, You are right; especially if you’re really a strobe user.

]]> Comment on Ryan McGinley - Jeans Photographer by Reinfried Marass http://www.aphotoeditor.com/2009/06/30/ryan-mcginley-jeans-photographer/comment-page-1/#comment-46629 Reinfried Marass Fri, 03 Jul 2009 00:18:18 +0000 http://www.aphotoeditor.com/?p=3468#comment-46629 'shoud' should read should :-) ’shoud’ should read should :-)

]]> Comment on Ryan McGinley - Jeans Photographer by Reinfried Marass http://www.aphotoeditor.com/2009/06/30/ryan-mcginley-jeans-photographer/comment-page-1/#comment-46628 Reinfried Marass Fri, 03 Jul 2009 00:15:19 +0000 http://www.aphotoeditor.com/?p=3468#comment-46628 ... there's only ONE photographer out there who can do jeans ??? A good completion to the post on Red cams ... For sure you need xxx MP equipment to get advertising jobs :-) Sometimes all you need is a pinhole (someone who believes in your work/style may help a bit *smile) Maybe Wrangler shoud strike back and hire Nadav Kander for their next campaign ... cheers … there’s only ONE photographer out there who can do jeans ???

A good completion to the post on Red cams …
For sure you need xxx MP equipment to get advertising jobs :-)

Sometimes all you need is a pinhole (someone who believes in your work/style may help a bit *smile)

Maybe Wrangler shoud strike back and hire Nadav Kander for their next campaign …

cheers

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Reinfried Marass http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46627 Reinfried Marass Fri, 03 Jul 2009 00:04:41 +0000 http://www.aphotoeditor.com/?p=3483#comment-46627 ... or just hire an assistant who owns a RED like Carlos :-) http://www.datawrangler.com/DataWrangler/Home.html cheers … or just hire an assistant who owns a RED like Carlos :-)

http://www.datawrangler.com/DataWrangler/Home.html

cheers

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by A Photo Editor http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46621 A Photo Editor Thu, 02 Jul 2009 23:18:25 +0000 http://www.aphotoeditor.com/?p=3483#comment-46621 @Oh My oh My oh My, so scandalous @Oh My oh My oh My,
so scandalous

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Peter Dawson http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46619 Peter Dawson Thu, 02 Jul 2009 23:04:47 +0000 http://www.aphotoeditor.com/?p=3483#comment-46619 Also, If your lighting style and preference includes strobes or mixing strobes with daylight you're out of luck with any video format. Bring out the HMI's ! Also, If your lighting style and preference includes strobes or mixing strobes with daylight you’re out of luck with any video format. Bring out the HMI’s !

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Kwaku Kufuor http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46617 Kwaku Kufuor Thu, 02 Jul 2009 21:57:42 +0000 http://www.aphotoeditor.com/?p=3483#comment-46617 I think the hybrid Red would be the ideal device for still photographers. As much as I love shooting moving images and stills, the current Red's size is appropriate for moving images. I saw the prototype hybrid Red online which I assume would be slightly bigger than the Nikon D3x. Resolution size wasn't mentioned but I assume it would be in the mid 20 mega pixels. I think the hybrid Red would be the ideal device for still photographers. As much as I love shooting moving images and stills, the current Red’s size is appropriate for moving images. I saw the prototype hybrid Red online which I assume would be slightly bigger than the Nikon D3x. Resolution size wasn’t mentioned but I assume it would be in the mid 20 mega pixels.

]]> Comment on Ryan McGinley - Jeans Photographer by Max http://www.aphotoeditor.com/2009/06/30/ryan-mcginley-jeans-photographer/comment-page-1/#comment-46614 Max Thu, 02 Jul 2009 20:32:22 +0000 http://www.aphotoeditor.com/?p=3468#comment-46614 @max, u are right @max, u are right

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Westering Fever http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46613 Westering Fever Thu, 02 Jul 2009 20:13:01 +0000 http://www.aphotoeditor.com/?p=3483#comment-46613 absolutely correct, also, being the first to use this technology kind of just sets a standard. It keeps budgets up and keeps the competition their toes. People were apprehensive about digital capturing from the beginning (which became ultra-popular during/after the 2001-02 recession),we've all seen whats happened with that... its nice that people are taking risks in this tense economic environment, its spawns new jobs and positions for the exhausted print industry. absolutely correct, also, being the first to use this technology kind of just sets a standard. It keeps budgets up and keeps the competition their toes. People were apprehensive about digital capturing from the beginning (which became ultra-popular during/after the 2001-02 recession),we’ve all seen whats happened with that… its nice that people are taking risks in this tense economic environment, its spawns new jobs and positions for the exhausted print industry.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by Donnar Party http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46612 Donnar Party Thu, 02 Jul 2009 18:59:58 +0000 http://www.aphotoeditor.com/?p=3483#comment-46612 The Red prices for rental aren't that much higher than digital medium format prices. Shooting a job for VIBE (RIP) or Interview or W is really a for free deal. You get real, meaningful exposure, they get your picture. You then get a catalogue job from that exposure, that pays more than you made in your 20s. That is the game. The Red prices for rental aren’t that much higher than digital medium format prices. Shooting a job for VIBE (RIP) or Interview or W is really a for free deal. You get real, meaningful exposure, they get your picture. You then get a catalogue job from that exposure, that pays more than you made in your 20s. That is the game.

]]> Comment on Industrial Color Helps Photographers Shoot The RED One by andrew farrington http://www.aphotoeditor.com/2009/07/02/industrial-color-helps-photographers-shoot-the-red-one/comment-page-1/#comment-46610 andrew farrington Thu, 02 Jul 2009 18:55:28 +0000 http://www.aphotoeditor.com/?p=3483#comment-46610 I can't believe that the Bruce shoot in 'W' was shot on the RED -there are some double page spreads that certainly look to me like high-end MFDB. If it is for sure, then OMFG!!!! I can’t believe that the Bruce shoot in ‘W’ was shot on the RED -there are some double page spreads that certainly look to me like high-end MFDB.
If it is for sure, then OMFG!!!!

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