View allAll Photos Tagged StudioSetup
Surprisingly, this set up is still standing, even if the lemon wedge has suffered a bit this week. Precarious, yes, but I could not resist attempting the balancing act. The pickle fork, and a small silver dish, were given to me by my Aunt Bernice. 16"x20" on Archival Linen Panel.
Setup de ontem!!!
Como eu já tinha adiantado, utilizei mais bagulho que o normal hehhe.
Valeu à todos que tem acompanhado o trabalho e gostado... muita gente vindo no direct elogiar e mais alguns nos próprios comentários das fotos!!! Muito obrigado mesmo pessoal!!!
Setup de Ontem!!! Como podem ver, só usei 1 grid em um dos flashes... e acrescentei um rebatedor branco para suavizar um pouco a sombra na parte esquerda onde fica a alça.
Fala pessoal! Chegou o setup da foto de ontem. A iluminação mais uma vez bem simples, mas tive que usar o HSS (High speed sinc). Como utilizei uma velocidade de obturador muito alta, precisamos desse modo para que o flash dispare várias vezes durante o fechamento da cortina(que é muito rápido e bem acima da velocidade de sincronismo que fica em torno de 1/200 e 1/250). Vale deixar claro, que nesse modo, o flash perde "potência ", ja que ele vai dividir ela em vários disparos. Por isso que tive que colocar em 1/1. E para a mão ficar dentro do pote fechado, eu simplesmente fiz 2 fotos, 1
Com a tampa fechada e outra com a mão lá dentro, depois no Photoshop é só usar layers e Máscaras e pronto 😀👍.
follow all work at www.facebook.com/KaunisHetkiPhoto
560 III in socked 22" beauty dish in front above on 1/2 and another bare to camera right on 1/8 set off with Yongnuo trigger. Shot with a T2i and a 50mm F/1.8
nenadstojkovicart.com/shared?type=album&id=3
YOU CAN FIND LARGE NUMBER OF PHOTOS UNDER CREATIVE COMMONS LICENSE ON MY OFFICIAL WEBSITE. THE KEYWROD SEARCH IS IN THE UPPER MIDDLE CORNER.
Setup de ontem!!! Utilizei 3 Flashes.
1 flash de studio(só pq não tenho outro speedlight) deixei ele em meia carga.
1 sb900 para o background
E 1 sb600 com sombrinha(E aqui vale a observação: deixei a sombrinha parcialmente fechada. Essa escolha foi mais para controle dessa luz, já que eu não queria que ela escapasse para o background) como só tenho 1 tripé, na foto de ontem eu mesmo segurei e para esse setup Gi virou estante 😂👍! Mais uma vez, Tony aparece todo estiloso para nos ajudar!!!! PS: se ainda não viu a foto de ontem, volta aí no meu feed e não deixa de curtir 😎👍
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
The tea set in normal real size, from my kitchen...
See it in Original Size/ شوف الصورة بالحجم الطبيعي
____________________________________________________________
Note that, comments with pictures will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور
Self de segunda! Tinha que aproveitar esse céu de Recife de alguma forma!!! Boa semana pessoal!
Strobist info: Only 1 SB900 p.1/32 camera left into a softbox 60x60
Spring onion on dark background. Experimenting again with a corner and continuing my project with fruit and vegetable portraiture. You can see all the detail about the shoot on my blog, foodfulife.com . Thank you :-)
Faaaaala Pessoal... segue o setup de Ontem!!!
Lembrando que qualquer dúvida que vcs tiverem é só deixar um comentário !!!
Como podem ver, utilizei somente 1 flash. Mas pelo ângulo que posicionei ele(e distância da parede de fundo), ele iluminou tanto o(a) modelo quanto o background (Aqui a gente conseguiu uma luz "adicional" economizando $$ 😂😂)
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
After the concert — that quiet moment when everything cools down.
I used a diffused flash from the left and created the atmosphere with a fog machine.
One logo was removed to keep the focus on mood and texture rather than brand identity.
I wanted it to feel more like a scene than product photography.
Setup de ontem!!! Por mais simples que seja, Tony quis acompanhar de perto para garantir que eu não errasse nada!!!
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
Setup de ontem!!! A úncia coisa que está faltando ser explicado na imagem: PACIÊNCIA, para fazer foto de splash, você precisa ter paciência hehhe!!! E claro, alguns panos para limpar a bagunça depois !!!!
Setup de ontem! Tony sempre garantindo que tudo saia de acordo com o projeto!!!
Como podem observar, só foi utilizado um flash com o zoom no máximo(200mm para o SB900), concentrando o feixe de luz no objeto.
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
Small wood vase with fake wooden flowers in my LightBox. Edited by Adobe LightRoom2 to add some lights effects in the corners.
See it before the Adobe LigthRoom2 effect.. Click Here..
More information on How To Create a ‘LightBox’ Click here..
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Note that, comments with pictures or a link to photos or personal photos or personal flickr accounts will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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Another capture of the Ink 'N' Water, colored in Photoshop. I post it without the border I think it's more [if we can say] emotional or has feeling.
:~: Requirement / What I had used:~:
[o] Bowl of water. [semi-transparent bowl]
[o] Needle for dripping the ink.
[o] Food ink, or any normal ink.
[o] I used a Tripod and Monopod [as shown] to get the camera Top to bottom.
[o] Nikon SB900 as speed-light.
[o] Camera Nikon D90 + 35mm lens.
for more information and studio set-up Click Here.
__________________________________________________________
Note that, comments with pictures or a link to photos or personal photos or personal flickr accounts will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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framed beauty : Tanjuma Afroj Akhi
wardrobe : Label Imam Hassan
make up : Monirul Islam Tuhinhin
photography by : Ali Emad Sarker
follow me on www.instagram.com/gallery_of_ali_emad_sarker/
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
This image was inspired by the superb images from another flickr member, Ania Jones.
Her Masai Mara set of images is simply amazing www.flickr.com/photos/aniajones/sets/72157631889020940/wi...
My giraffe silhouette however was a table top set up in my kitchen of a carved wooden giraffe which my wife brought back from Kenya, photographed against an orange gel background.
So for a brief couple of hours, I did manage to bring a glimpse of an African wildlife sunset into my kitchen in Portsmouth.
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
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Faaaala Pessoal, Primeiro agradecendo a todos que comentaram na foto de ontem, falando os temas que mais gostam/gostariam de ver aqui. Um dos mais votados foi o Uso de Flash e a Foto de ontem foi uma foto que utilizei o flash e Hoje já posto o Setup.
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Você puderam ver que na foto de ontem, o mais evidente eram as "Bolinhas de Luz", o Famoso Bokeh. Ele vai aparecer quando houver pontos de Luz fora do plano Focal. Eles ficam mais evidentes quando sua lente está com uma abertura Grande, no caso de ontem minha abertura era 1.8, aí a luz vai entrar pela lente e ficar no formato da Lente (Redondo). Aproveitei as luzes da Rua e dos Prédios para o Bokeh no plano de fundo e o Pisca Pisca para o Bokeh no primeiro plano.
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Galera, se você curte fotografia, vai querer acompanhar um congresso on line (organizado pelos Irmãos Vanassi (@eduardovanassi e Gustavo Vanassi) do @fotologiacast) o #Fotoin17 (bit.ly/fotoin2017) - Vou Colocar esse link até a sexta na minha Bio. É um Congresso TOTALMENTE grátis
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What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them