Ichiro Nagata?
- Thread starter Gunhead
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El Tejon
Member
Gun, who's this? What's his claim to fame? Posters? Books?
clubsoda22
member
He's the photographer for "Guns" and "American Handgunner" magazine
Range Ninja
Member
He's is an amazing photographer. You can see some examples in American Handgunner. He provides some of the best gun-porn available.
JohnBT
Member
45R
Member
Ichiro is the man when it comes to gun porn!!!
cratz2
Member
Something tells me given time, he can do things with a five year old entry level camera that I can't do with the latest and greatest equipment...
I think it has a lot more to do with inspired composition and excellent light 'vision' than the actual equipment he uses... Just look at the photos from 15 years ago... still outstanding!
I think it has a lot more to do with inspired composition and excellent light 'vision' than the actual equipment he uses... Just look at the photos from 15 years ago... still outstanding!
Oleg Volk
Moderator Emeritus
His lighting formula seems to be red fill light, blue main light and white background light. To me, white main, blue fill and blue background would seem more natural -- which is why he's an artist who can break rules and get away with it.
Harry Tuttle
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- Nov 14, 2003
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- 3,093
gun porn, get yer gun porn
http://westernarms.cool.ne.jp/guest2004/page056.html
http://westernarms.cool.ne.jp/
http://westernarms.cool.ne.jp/guest2004/page056.html
the whole site is kind of amusing:
http://westernarms.cool.ne.jp/
RobW
Member
To do any decent studio photography you have to have at least
a 4"x5" monorail studio camera like sinar (with necessary accessories entry level $ 4,000.00, hi-level $ 12,000.00)
Studio-Flashlights like Bron (at least 6 with neccessary accessories entry level $ 6,000.00 up to $ 125,000.00 for illumination of cars like Mercedes-Benz for their catalogs).
Lots of smaller items like different background papers and clothes, photo-tables, etc, etc.
Doing professional electronic photography makes it more expensive.
You can improvise a lot, but for a profitable studio, there is no way out of the best you can get (otherwise you are talking about 16 to 18 hour workdays paid for only for 8 hours).
a 4"x5" monorail studio camera like sinar (with necessary accessories entry level $ 4,000.00, hi-level $ 12,000.00)
Studio-Flashlights like Bron (at least 6 with neccessary accessories entry level $ 6,000.00 up to $ 125,000.00 for illumination of cars like Mercedes-Benz for their catalogs).
Lots of smaller items like different background papers and clothes, photo-tables, etc, etc.
Doing professional electronic photography makes it more expensive.
You can improvise a lot, but for a profitable studio, there is no way out of the best you can get (otherwise you are talking about 16 to 18 hour workdays paid for only for 8 hours).
Oleg Volk
Moderator Emeritus
That is true. I am running into the limitations of fixed camera back, esp. when doing macro and product work. Tilt-shift lenses for 35mm or digital cameras aren't good enough. Digital back for a view camera is about $15K and the camera and lenses would be another $5-7K.
Harry Tuttle
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- Joined
- Nov 14, 2003
- Messages
- 3,093
guns are cheap compared to cameras:
http://www.ixpress.dk/highlights.asp
Ixpress 384C
$21995.00
http://www.helixphoto.com/Digital/imacon/ixpress384c.html
http://www.ixpress.dk/highlights.asp
Ixpress 384C
$21995.00
http://www.helixphoto.com/Digital/imacon/ixpress384c.html
keyhole
Member
Guns, camera's, cars. Guess that it's just what you enjoy spending yer money on. Since mine goes mostly towards family, cameras are Nikon's , and more towards guns, and reloading supplies. Need to start spending more towards the '55 project, but then again, there's this other gun I have been eying,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
Just to give a heads up about another photographer out there who is very talented and known ni the knife circles. Shelby Chan. He shoots some really fantastic photos of knives. He is to knives what Ichiro is to guns. I am envious of both of these men's terrific eye and photography talent.
Oleg Volk
Moderator Emeritus
Best lens Canon makes, I think.
Penforhire
Member
For an amateur (like me, a lifelong student of photography), equipment is so much less necessary than effort. I'll agree the right gear makes for more profit and higher success rate for pros. But for just being able to make a particular piece of art equipment is like 10% or less of the equation. Inspiration, perspiration, and education make up 90% IMO. As a matter of fact, I'll rate the quality of your tripod as more important than the camera body you use. The lens comes up next but most cheap 35 mm lenses still have sweet spots between f5.6 and f8. And zooms are at a big disadvantage versus primes, even if you're using Canon's L-series zooms. The big thing I can't deal with on cheap lenses is flare when shooting with light sources in the scene.
The benefits in using 4x5 equipment are focus plane control (biggest benefit to me, not a big deal for a straight-down photo), absolute depth of field (bigger lens = less refraction limited, try f64 on 35 mm and you'll get mud), shifts (not show yourself in a mirror, or reduce keystoning -- which is easy to do in Photoshop), and resolution (not a factor since 35 mm makes superb 8x10's).
I've gotten shots into corporate reports and product catalogs using a plain old Nikon FE2 body (think old-fashioned manual 35 mm) and a few prime lenses (24, and 85 are my faves). I have, however, spent DAYS getting the set & lights right. I've done special effects using the crudest methods. And I've used tungsten balanced Ektachrome because I didn't have strobes but had plenty of cheap hot lights and flashlights (yep, they have their place too).
In the electronic age I've been using techniques in studio-type shots that overcome many of these limitations. Like multiple combining multiple exposures to extend depth of field, captured tonal range, and/or resolution limits. I can do more with a 3 MP digicam and an Epson Photo-series printer than most people can imagine and looking at final prints, only Pro's would say the process is digital. Yes, I have to spend more effort to get it done right than a typical pro but that's the trade-off, time versus money. I can still get most money-shots done.
The benefits in using 4x5 equipment are focus plane control (biggest benefit to me, not a big deal for a straight-down photo), absolute depth of field (bigger lens = less refraction limited, try f64 on 35 mm and you'll get mud), shifts (not show yourself in a mirror, or reduce keystoning -- which is easy to do in Photoshop), and resolution (not a factor since 35 mm makes superb 8x10's).
I've gotten shots into corporate reports and product catalogs using a plain old Nikon FE2 body (think old-fashioned manual 35 mm) and a few prime lenses (24, and 85 are my faves). I have, however, spent DAYS getting the set & lights right. I've done special effects using the crudest methods. And I've used tungsten balanced Ektachrome because I didn't have strobes but had plenty of cheap hot lights and flashlights (yep, they have their place too).
In the electronic age I've been using techniques in studio-type shots that overcome many of these limitations. Like multiple combining multiple exposures to extend depth of field, captured tonal range, and/or resolution limits. I can do more with a 3 MP digicam and an Epson Photo-series printer than most people can imagine and looking at final prints, only Pro's would say the process is digital. Yes, I have to spend more effort to get it done right than a typical pro but that's the trade-off, time versus money. I can still get most money-shots done.
45R
Member
No flash set to macro. Its huge
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