Available light! Who knew such a thing existed? Soft, cloudy daylight complemented the subtle shadings of the wall and the garments in the picture below. We did do a fair bit of lighting in this gorgeous country setting with a pre-production Nikon Z 7II, but in this instance, it was just the clouds mixing the sun into a wonderful soft blanket of light. Our lovely model Rene Mittelstaedt is beautifully subtle in front of the lens, which is what this scene called for. Soft easy gestures and looks.
So, beyond the color response, the pixels, the sharpness, the speed of the new machinery……one thing to single out that I do love about these new cameras, given their astounding resolution, is the ease and access we have now to shift formats. The banner picture up top is 16×9. The two pictures just below here are shot in square format. Flick a button, and you shift the image area. Such a wonderful compositional tool, and so much better than a post-shoot crop fest. You actually can now frame exactly as you would, at the camera, and shoot it without compromise. These two pictures shot against this aging, cracked wall are with a pre-production Nikon Z 7II and the 50mm f1.8 at f/2.2
The greenery, though, was shot with the 70-200mm f/2.8 long lens in pano format. The variety of options available to you at the camera nowadays can complement anywhere your eye seeks to roam.
The team! Fantastic styling by Samantha Brown, flawless production by Lynn DelMastro, lead HMU Victor Noble, HMU Francesca Maria, director/cinematographer Andrew Tomasino, video editing by Chris Hershman, crew chief Mike Grippi. Just an amazing, hard working group.
Good Monday to all! More tk….