View allAll Photos Tagged Gel
Same light, different pose. Gelled back lights, blue fill light, neutral key channeled down with a snoot + tight grid..
Model: Sophie S
@strobist:
YN-565 with beautydish from front
Geld SB-28 from behind (left & right) through 55° reflector
"You're my aaaan-gel, Come and save me tonight!"
Watch Aerosmith's music video here! www.youtube.com/watch?v=CBTOGVb_cQg
Would you like to see the full set of the Angel?
Athletic Goddess! Nikon D810 Photos Pretty Swimsuit Bikini Fitness Model Goddess: Sigma 50mm F1.4 DG HSM Art Lens for Nikon Cameras!
Loved shooting the awesome Sigma 50mm F1.4 DG HSM Art Lens for Nikon Cameras! It was a bit tough sometimes to achieve optimum focus at F1.4 due to the shallow depth of field, but hey--not every eyelash has to be perfectly sharp! I could do it if I and the model were perfectly still, or F1.8 or F2.0 did the trick too. Kept switching it up! We had fun and she loves the photos! :)
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
Facebook:
www.facebook.com/45surfAchillesOdysseyMythology
Instagram: instagram.com/45surf
blog: 45surf.wordpress.com
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Dynamic Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Instagram: instagram.com/45surf
Fine art swimsuit model, ballerina, and ballet photography!
Nikon D810 Photos Pretty Swimsuit Bikini Fitness Model Goddess Sigma 50mm F1.4 DG HSM Art Lens for Nikon Cameras!
45SURF Fine Art!
After looking through my work,what do you think about Nikon vs. Sony? Do you prefer the Nikon D810 and Nikkor / Tamron / Sigma lenses /glass, or the Sony A7r and Sony Sonnar Carl Zeiss e-mount glass/lenses? I love them both! And I am so excited about the Sony A7rII !
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
merci Nasos3 pour cette texture : www.flickr.com/photos/nasos3/5181297268/in/set-7215761648...
Ô comme il fait froid ce soir ! Il a gelé puis neigé
sur le petit étang des fées à la sortie de Salomé.
Tout là bas une petite lueur tremblote dans le noir.
Belle,elle nous réchauffe et nous apporte l'espoir
que ce glacial et long hiver au plus vite s'achève,
et cède la place à un superbe printemps de rêve
Flo
♪♪♫♪♫ : youtu.be/YzEjHd54reI
"Galadriel's Lament" - Brocelïande
SEPTA Wash-2 prepares for departure from CHE for 16th Street Junction, where the crew will change ends again and head up to Norristown.
Strobist Info:
Camera Settings - Canon 5D Mark III with EF 85mm f/1.2L II lens, Aperture f/5.6, Shutter Speed 125, ISO 100
Main Light - Einstein 640 with 45 inch silver bounce umbrella gelled boomed in front of subject on axis
Rim Light - Einstein 640 with 33 inch silver bounce umbrellas gelled placed 45 degrees behind subject left and right
Strobes triggered remotely using PocketWizard MiniTT1 transmitter with Power MC2 transciever
Rachel was so gracious to come hang out with us during our Studio Lighting workshop this eve. Always a pleasure having her in front of our lenses as she really puts her all into every pose.
Nikon D600
Nikkor 24-70 f/2.8
2 - B800's with red gels at background
1 - B1600 in Gridded Octabox Camera Right
1 -B800 with 40 degree grid camera left
Fired with Pocket Wizards
Ce matin, il gèle et le ciel est limpide. Malheureusement, cela n'a pas duré et le soleil a vite disparu derrière des nuages bien gris.
This morning it freezes and the sky is clear.
Unfortunately, it did not last and the sun quickly disappeared behind gray clouds.
Some people buy art to hang on their walls — not Shane, he waned an AK-47 to sit above his mantelpiece. Read more on my blog.
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Strobist:
• 430ex camera left on 1/2 power through a 28 inch Apollo with a red gel.
• 430ex camera right on 1/2 power through a 28 inch Apollo with a cyan gel.
• 580ex camera left, boomed high, on 1/4 power
through an Apollo Orb
Working with Gels
Well my order from Rosco arrived and it was time to have some fun. Working with gels is something new to me. I’ve had the standard CTO gels laying around gathering dust and that’s about all they did. Then I saw some photos some really good shooters had produced and I just had to try my hand at it.
In my studio I mainly shoot on black or white seamless and occasionally on thunder grey. I wanted to see how the gels would do on each. I found that shooting on black produces a richer saturation and can produce a more textured appearance than on white - which can produce a more pastel effect. This is not to say gels on white can’t produce gorgeous rich colours as well. It’s all in developing a subtle touch.
The biggest problem I found in shooting in such a tiny studio is of course light hitting the model when you only want it to hit the background. Barn doors and bookends can help control that but you need a lot more space to set a system like that up. I tried every configuration I could think of and finally decided if I couldn’t control it - I would embrace it.
For the photos in this eZine I worked with Daisy - a fantastic and very professional model on a black background exclusively. She knows her poses and expressions and can totally own the stage. All I had to do was manage the lighting and click the shutter.
Toward the end of the shoot I switched over to lighting the model with gels. It’s a lot more finicky getting that right and the model has to stay more in one place. I used a bounce to kick light back from the orange gel lighting her while a single blue lit the background. It’s very hit or miss and if Daisy moved too close or far from the lights it would make a big exposure difference due to depth of flash.
I found filters on the orange side worked especially well but browns didn’t. Browns tended to look metallic and not so brown. I imagine they can look brown as expected but only if turned way down. Blue filters rock as does green but reds - nah. I have my favourites picked out :-)
So that’s my story and I’m sticking it.
~Randi Scott~
More here:
Lighting:
YN560-III with red & blue gels
(flash located on floor firing up to white background) - 1/16th power @ 24mm
Black flags either side of glass to accentuate the outline.
YN560-TX trigger
Working with Gels
More here:
Well my order from Rosco arrived and it was time to have some fun. Working with gels is something new to me. I’ve had the standard CTO gels laying around gathering dust and that’s about all they did. Then I saw some photos some really good shooters had produced and I just had to try my hand at it.
In my studio I mainly shoot on black or white seamless and occasionally on thunder grey. I wanted to see how the gels would do on each. I found that shooting on black produces a richer saturation and can produce a more textured appearance than on white - which can produce a more pastel effect. This is not to say gels on white can’t produce gorgeous rich colours as well. It’s all in developing a subtle touch.
The biggest problem I found in shooting in such a tiny studio is of course light hitting the model when you only want it to hit the background. Barn doors and bookends can help control that but you need a lot more space to set a system like that up. I tried every configuration I could think of and finally decided if I couldn’t control it - I would embrace it.
For the photos in this eZine I worked with Daisy - a fantastic and very professional model on a black background exclusively. She knows her poses and expressions and can totally own the stage. All I had to do was manage the lighting and click the shutter.
Toward the end of the shoot I switched over to lighting the model with gels. It’s a lot more finicky getting that right and the model has to stay more in one place. I used a bounce to kick light back from the orange gel lighting her while a single blue lit the background. It’s very hit or miss and if Daisy moved too close or far from the lights it would make a big exposure difference due to depth of flash.
I found filters on the orange side worked especially well but browns didn’t. Browns tended to look metallic and not so brown. I imagine they can look brown as expected but only if turned way down. Blue filters rock as does green but reds - nah. I have my favourites picked out :-)
So that’s my story and I’m sticking it.
~Randi Scott~
More here:
Working with Gels
Well my order from Rosco arrived and it was time to have some fun. Working with gels is something new to me. I’ve had the standard CTO gels laying around gathering dust and that’s about all they did. Then I saw some photos some really good shooters had produced and I just had to try my hand at it.
In my studio I mainly shoot on black or white seamless and occasionally on thunder grey. I wanted to see how the gels would do on each. I found that shooting on black produces a richer saturation and can produce a more textured appearance than on white - which can produce a more pastel effect. This is not to say gels on white can’t produce gorgeous rich colours as well. It’s all in developing a subtle touch.
The biggest problem I found in shooting in such a tiny studio is of course light hitting the model when you only want it to hit the background. Barn doors and bookends can help control that but you need a lot more space to set a system like that up. I tried every configuration I could think of and finally decided if I couldn’t control it - I would embrace it.
For the photos in this eZine I worked with Daisy - a fantastic and very professional model on a black background exclusively. She knows her poses and expressions and can totally own the stage. All I had to do was manage the lighting and click the shutter.
Toward the end of the shoot I switched over to lighting the model with gels. It’s a lot more finicky getting that right and the model has to stay more in one place. I used a bounce to kick light back from the orange gel lighting her while a single blue lit the background. It’s very hit or miss and if Daisy moved too close or far from the lights it would make a big exposure difference due to depth of flash.
I found filters on the orange side worked especially well but browns didn’t. Browns tended to look metallic and not so brown. I imagine they can look brown as expected but only if turned way down. Blue filters rock as does green but reds - nah. I have my favourites picked out :-)
So that’s my story and I’m sticking it.
~Randi Scott~
More here:
Strobist ~ Two Lights ~ AB800 & Nikon SB900 w Orange Gel ~ Triggered by Pocketwizards Plus II
After a few years of doing photo-shoots I was able to save up and purchase a full frame camera. So allow me to introduce you to my new camera, the Nikon D3 aka Barry Bonds....lol
Blog Post ~ www.jmorenophoto.com/blog/purchased-a-nikon-d3/