Lucima Podcast

Talking about gripes! Philosophical ones at least. 1. Heavy dependence upon technology 2. Some benefits come with technology 3. Staying current and how often do you update? 4. Using technology to keep things fresh 5. It's an incremental advantage/improvement that doesn't "rock my world" What accounts for the different look of the new images created with Capture One as part of the workflow? - Compounding of little adjustments with new tools (in conjunction with old tools). - 10 parts vision, 1 part post-production Improving my understanding of lighting: - Natural light doesn't mean you have to be lazy - Create 2-light setups in natural light environments

In this podcast, I delve a little deeper into Capture One and talk about the specific differences that comprise of the tangible visible difference that I asked about in the Facebook Workshop Group (https://www.facebook.com/groups/185656974814125/) . Here are the notes: - default sharpening - default noise reduction - "a bunch of little files" - Capture One vs. Lightroom programming - integrating C1 into my workflow - hybridized system like Trillian/IM+ for chat - C1 color wheel vs. curves - C1 has more refined control over details. Lr is just a little "harsher" in its control over transitions of shadows/highlights. - C1 is like Apple? Lr is like Android? Am I wrong? - Stay tuned for Part 2.5!

This podcast is about my experience with Capture One. But in order to fully explain my experience and why I'm even looking at Capture One, I have to give you an account of my hardware/software up until this point. This means telling stories about my storage setup, specifically the OWC Helios Accelsior PCIe 480GB which serves as my scratch disk (https://eshop.macsales.com/shop/Thunderbolt/PCIe_Chassis/Mercury_Helios_Accelsior_E2/Buy_Now). I talk about my raw/non-raw workflow and how I think about post-processing in general (linear vs. circular editing). Midway through the podcast I turn my attention to the specifics of Capture One and how I am integrating it into my own workflow. The conversation turns into an analysis on RAW and general post-processing workflow.

This is a podcast about how I think through questions and answers. A little "behind-the-scenes" look at how I think. If you're so inclined.

Question: Where did you learn about posing models or are you fortunate enough to have models that already know what looks good?

SD card failure update. (Re) Examining a few assumptions in my workflow that I haven't looked at in years. Raw converters, Lightroom/Capture One, Photoshop, autofocus modes. Talking about adopting (other) new technologies. As a small extension to our previous conversation(s) Art and Process talking about mental perspectives change day-to-day and how to ensure that it doesn't ruin your mojo.

In the context of shooting a couple tests in one day, I put the new Sony A7RII through the gauntlet and give you guys some very early feedback. Oh and my Sony 32GB 94MB/s card corrupts during the shoot. Thus putting me behind the 8-ball and forcing me to get creative for the rest of the shoot. Maybe I like that pressure? Blessing in disguise?

Check out (https://www.facebook.com/groups/185656974814125/) for the original post for this reaction. Read this first before listening to the podcast: This was supposed to be a podcast. I recorded it and it sounds horrible. Therefore you’ll have to suffer through the written form of the podcast. In the last podcast, I looked for some redeeming value to my perspective of “my pictures are not special”. This post is my final response to that perspective. If you’re thinking, “But you came up with that perspective?” you are correct. Basically I’m talking to myself. What else is new? This is also the written response to the podcast we had with Carey Hess and Dondee Quincena in the studio. It’s also my reaction to Tabatha being embarrassed that her pictures might reveal too much about her and my contrasting opinion that mine say nothing about me. And if it sounds like I’m talking to/about you, don’t take it personally. Honestly it’s mostly rhetorical (read: I’m talking to/about myself). You’ll understand when

Round 2! FIGHT! :) Goddamnit, I just listened to this podcast and I can't remember a word of what I said. Either I didn't say anything important or I simply wasn't listening to myself. I wonder if I should be offended? Either for not saying something more memorable or for not paying attention. Thinking about this hurts my brain. Well if I missed any references that I was supposed to document, let me know!

Gallery shows, art, process Do the pictures tell the audience something about me that perhaps I'm not aware of or that the audience isn't aware of? Either obviously or subliminally? Maybe nothing? But if push came to shove I might say it tells you that I'm highly left-brained. And that's why I don't see my work as "art"? Honestly if you really want to know how I come up with these pictures, it's all in what I say (here) combined with what I do (there). Doesn't get any clearer.

Shooting at the dam but it's flooded. Now what? Leave or make do? How can I even make do? Profile shot shows the dam when it was dry.

I got this question from @the78frames on Instagram and there was a brief discussion here: https://www.facebook.com/groups/185656974814125/ "For those who think they found their personal look, what is your opinion on editing past work so it fits better [with the current imagery]?"

Working through changeups and being totally flexible. But how much credit do you get when you're working with a model like Chloe?

With models that flow through their poses, everything is dynamic. Acquire focus, compose, recompose, reacquire focus, all without stopping. Kind of along the same lines of kicking the lightstand into the right position without breaking from shooting. Also consider there's nothing you can say or do that would be more paramount to getting the shot, than allowing her to flow through her poses. Sometimes they are THAT good.

Melanie from Photogenics Rosie O'Donnell from Facts of Life Gotta get these names right. Sheesh.

Since the last podcast I've gotten a short-term intern. She's from France and studying photography so English isn't her first language. Tabitha had the opportunity to see a couple shoots and had some questions regarding those shoots. This of course gives me an challenge to not only think about those (and other) shoots differently but also address some of the things that I thought about those shoots (specifically the swimming pool/backyard shoot and the rocks shoot with Liberty).

Post-Maui progress report. Addressing the complicated topic of losing perspective as you go farther in your journey as a photographer. And how to bring it full-circle and remember that we were all once beginners.

What I'm thinking about before going to Maui. Progress report for the last couple weeks. References in this podcast: Shoot at the rocks: https://www.instagram.com/p/BFuduuIEwiP/ https://www.instagram.com/p/BFw8mu7kwmB/ Projector shoot: https://www.instagram.com/p/BFmzAPBEwou/ https://www.instagram.com/p/BFkK4nukwrR/

Balls deep part II! Pardon the sound quality. We recorded this over Skype! You can find Kevin and his work on Instagram @kevwphoto

We go balls deep into this subject this time. Yes, I said BALLS DEEP. I literally attempt to exhaust this subject of conversation with Kevin. Why do I shoot it? Who says yes to shooting with me? Why do they say yes to shooting with me? In order to properly answer this question I reverse the roles and explain why I say yes and to whom do I say yes to shooting fashion nudity. How being an amateur differs from being a professional when shooting and how models evaluate you. I will say the things that people are too embarrassed to admit over the next 2 podcasts. Nothing but the truth. Pardon the sound quality. We recorded this over Skype! You can find Kevin and his work on Instagram @kevwphoto Edit: At the 43 minute mark of this conversation Kevin interjects that he's not in photography for monetary compensation and I had a brain fart and didn't make the logical jump/conclusion regarding the models that are looking for "long-term/delayed monetary compensation". What I should have said is this: "It's all mone