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Talent : Mel
Location : Seri Chempaka Resort Janda Baik.
Organised by : Sang Pencinta Ratu
CLS Set-up : Eshazli
Make-up Artis : Echa
Photographer : Sang Pencinta Ratu, MNJ 545, Eba, Cool Shutter, Eshazli, Azman Aziz, MRizal & Roi Bo Roi
Talent : Mel
Location : Seri Chempaka Resort Janda Baik.
Organised by : Sang Pencinta Ratu
Photographer : Sang Pencinta Ratu, MNJ 545, Eba, Cool Shutter, Eshazli, Azman Aziz, MRizal & Roi Bo Roi
* Special thanks to eShazli for all the guidance, tutor, patience and knowledge he shared to me for this CLS session. He’s a great person & very knowledgeable on this subject.
Talent : Mel
Location : Seri Chempaka Resort Janda Baik.
Organised by : Sang Pencinta Ratu
Photographer : Sang Pencinta Ratu, MNJ 545, Eba, Cool Shutter, Eshazli, Azman Aziz, MRizal & Roi Bo Roi
View on black!
Playing around, trying out some stuff.
Using two SB-600, triggered by CLS. Any ideas on where I'd put them?
Comments are welcome but no glittery images, banners or group invites! Those will be deleted!
This photo is copyright protected, and is not available for use in any manner without the consent of the photographer. Please contact Jan Paul Yap, for photograph usages and print purchases, through flickr mail or send an email to jpvyap@yahoo.com.
CameraCanon EOS 5D Mark II
Lens : Tokina 10 - 17 mm 3.5 . 4.5
Exposure13
Aperturef/16.0
Focal Length17 mm
ISO Speed100
SoftwareAdobe Photoshop CS5 Macintosh
Exposure ProgramAperture-priority AE
______________
Biondo Photography
Bonemer Photo
Abdulaziz Al - Duwisan
2 SB-600 full Power
1 SB-800 thru umbrella
lay out, settings, behind the scenes
diagrama, post-proceso y detrás de cámara en:
www.benolivares.com/blog/2008/10/23/fotografia-de-bombero...
This is one of the first new CLS 63 AMG with the net 5.5 ltr Bi-Turbo engine.
It has got a nice matte (!) bronze paintjob and stands at the S&G centre in Karlsruhe.
I used a warm-filter in Photoshop for this light.
A "anonymous" Chicago Street Artist-
who's work is highly recognizable, and spread
throughout Chicago's North and N.W. Sides.
CLS - must "work" in the middle of the night-
when no one's really payin' attention
to a person with a duffel bag full of scrap wood-
and a battery-powered Nail-Gun.
The dedicated Street Artist who uses
a "portable-pin-nailer" (Air-driven tool) to affix
these scrap pieces of wood to
an existing sign- in this case
one which is along Route 66
( Ogden Avenue in Chicago) @ Western Ave.(& happens to be directly North of a Weed Store.
"Blessed are they who see beautiful things in humble places where other people see nothing."
Camille Pissarro
spectraartspace.com/cls-abstract-curiosity-catalogue-review/
The "B" side
"Blessed are they who see beautiful things in humble places where other people see nothing."
Camille Pissarro
spectraartspace.com/cls-abstract-curiosity-catalogue-review/
Commonwealth Light Ship-4 (CLS-4) Carpentaria is one of four identical lightships designed in 1915 by the Scottish firm D & C Stevenson of Edinburgh. They were designated CLS-1 to CLS-4. The design is optimised for operating unmanned anchored at a stationary position on station offshore for prolonged periods of time, away from port.
Carpentaria has a riveted steel hull and no superstructure, with a single mast amidships mounting the beacon lantern atop. Being a stationary vessel, she has no installed propulsion engines in her and has to be towed to change position or return to port. In 1950, CLS-4 was equipped with a diesel engine to power an anchor windlass; it was protected by a steel deckhouse added at that time.
Carpentaria's lantern was powered by acetylene gas. She carried a 6-month supply in four tanks; the gas flow was controlled by a valve which would regulate the flashes of the light according to the code assigned to the station. The gas would shut down during daylight; the beacon light could be seen from 10 nm away. She also carried a bell activated by the rolling motion, so it could be heard in low visibility conditions.
CLS-4 Carpentaria was built at the Cockatoo Island Dockyard in Sydney, Australia and launched in 1917. She was put in service that year, together with her sister ship CLS-2, in the Gulf of Carpentaria. They would alternate between being on station and in port for maintenance.
Later in her career, CLS-2 and -4 were assigned to a traffic separator role in the Bass Strait, where they narrowly avoided being hit by container ships. In 1985, both were decommissioned. Later they were destined for preservation: CSL-2 was given to the Queensland Maritime Museum in Brisbane, Queensland, while CLS-4 went to the Australian National Maritime Museum in Sydney, NSW, where she is seen above in 2009.
Each vessel in the class displaced 164 tonnes. They were 21.94m long, 7.82m in the beam and had a 2.74m draught.
CameraCanon EOS 5D Mark II
LensEF70-200mm f/2.8L IS USM
Exposure1.6
Aperturef/16.0
Focal Length70 mm
ISO Speed100
Exposure ProgramAperture-priority AE
SoftwareAdobe Photoshop CS5 Macintosh
________________
Bonemer Photo
Abdulaziz Al-Duwisan
D90
18-105mm VR @ 70mm
SB-600 (TTL via the commander menu)
CLS Triggered
Westcott Mini Apollo Softbox
Again I used FP (Flash Pulse) Sync for this shot to eliminate ambient light from the image. OK... FP really stands for Focal Plane. But while trying to explain it, it is easier to think of it in terms of what it does...
Let me explain... FP Sync is also called High-Speed Sync. It is set on the camera and allows for usage of much faster shutter speeds with flash than normal. Not all cameras have this.
The maximum normal sync speed of a camera is the fastest shutter speed in which the first shutter curtain is fully open and exposing the sensor/film before the second shutter curtain starts to close. When using shutter speeds faster than maximum normal flash sync, the second shutter curtain starts to close before the first shutter curtain is fully open and the sensor/film is exposed by a moving slit or gap between the two moving shutter curtains.
With normal flash sync, this would cause a dark band across one edge (usually the bottom) of your image. This is caused because the flash would fire as the first shutter curtain is fully opened, but the second shutter had already started to close, blocking part of the sensor/film. So the dark strip is underexposed due not being exposed to the flash.
With most modern cameras, it is next to impossible to get a camera to fire "out of sync" like that if you are using dedicated shoe mount flashes. You can sometimes fool the camera with non-dedicated flashes and with studio lighting.
The FP feature switches the flash from a "one big pop" output to an output that has multiple repeating and overlapping pulses that "paint" light over the sensor/film via the moving shutter slit. The upside of FP is that it allows shutter speeds up to 1/8,000 to be used with a flash. The downside is that the pulses can't be as powerful as a single "pop" and will reduce working distance. Fortunately, working distance wasn't any issue in this image at all.
Flash exposures are basically multiple exposures. One exposure for flash and another exposure for ambient light. Because the flashes turn on and off MUCH faster than maximum normal flash sync speeds on cameras (sometimes as fast as 1/38,500 of a second on the SB-900) shutter speeds have no effect on the flash exposure. So flash exposure/working distance is controlled by flash output and the camera's aperture.
Since the aperture is now pre-set for the flash exposure, the ambient light can only be controlled by the camera's shutter speeds. Many times photographers strive for a balance between the ambient and flash exposures (balanced fill-flash). That is we try to get the flash and ambient light to be as close to the same exposure as we can to minimize the "WOW! You used a flash" look.
But in this case I wanted to use an unbalanced flash. I wanted the background to go pitch black.
Once I set the menu to activate FP Sync (D3s/D3x/D700/D300s/D300/D200: Custom menu #E1; D90 Custom menu #E5; D80 menu #25) I switched the camera to Manual exposure mode and chose f/8 as my aperture due to my desire for a deeper working Depth of Field (I wanted both the front and back peddles of the tulip sharp).
Since I was in a well lit classroom in the back of Samy's Camera in Santa Ana, CA, I wanted to eliminate any of the ambient light that was spilling onto my background (a sheet of black foam core, which does reflect light off it's surface). I chose a shutter speed of 1/1,250. 1/1,250 @ f/8 without a flash in this room gave me an exposure that was several stops under-exposed, rendering an all black, detail free image.
So once I turned on the flash, the ONLY light effecting this image was from the flash.
The really cool part of this is that it really doesn't matter how bright your ambient light is... as long as you can get a shutter speed/aperture combination that will render a non-flash image more than about 3-stops underexposed, then add an FP-synced flash you can get a deep black, detail free background with a well lit subject.
IMPORTANT to note: FP sync can NOT be done when the built-in flash is being used for the exposure (TTL or M). It can be used if the built-in flash is being used as a CLS trigger, but in the commander menu the built-in must be set to "- -" for FP sync to work.
IMPORTANT: Not every flash is compatible with FP Sync. As a general rule, only flashes from your camera manufacturer can perform this function. And even then not all of thise flashes may be FP Sync compatible. (The SB-400 is the only current Nikon flash that is NOT FP Sync compatible.)
BTW... FP Sync can be used to achieve a desired fill flash effect in bright lighting. For instance, if you are making a portrait in mid-afternoon sun and want to use f/2.8 for a shallow DoF and want to use a flash to add some fill; use FP sync to get the shutter speed to stop reading "Hi" or overexposed. Like this: www.flickr.com/photos/pva1964/4616877723/
A bit more on this topic here: www.flickr.com/groups/10206545@N00/discuss/72157622836241...
Props and set-up details here: www.flickr.com/photos/pva1964/4706607372/in/set-721576232...
copyright: © 2010 shazlishots | ministryoftones
A team work with Komunis Haluan Kiri Markas Penang.. during Penang Street Outing
day 46
i saw a pic today by RYAN BRENIZER www.flickr.com/photos/carpeicthus/4359305051/
it give me the idea to the pic i took today...
i ducktape 2 sb600 and a sb900 to create this...
straight from cam the pic a bit brighter than what i want... so i pump the shadow in picasa then crop it...
it was so cold outside... gotta do this shot really quick or i'll start catching cold again... oh the sunglasess its not so i look cool.. it just to protect my weak eyes... hahahaa
SET UP
-D700+24-70mm
-2 sb600 + sb900 ducktaped trigger with onboard camera flash using cls