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Nikon D700 | Nikkor AFS-105mm F2.8 VR Micro | Nikon Speedlight SB700 | Raynox DCR 250 | Macro Diffuser
This is from the east half of the Owens Valley, just a bit SE of Bishop. I'm looking east at the western side of the White Mtn range. You can't see it, but the Owens River is about a quarter mile beyond that big solo tree. Over on the right side, that "dirt road" is headed up Black Canyon.
I like the calm gentleness of this image. Whereas the Sierra mountains behind me are jagged and dramatic with contrasty couloirs and a sawtooth-like horizon contour, the Whites are soft and rounded. The diffused light on the foothills here make them look a bit like clouds to me.
Low tide was at noon in Portugal when we were there, the worst time for photography. However, I promised myself to go for these great waders. An alternative title could be "please, some water.. "
I got a question from someone about the blurred background: Trust me, no artificial blurring or whatsoever. Just some sharpening and colorcorrection.
The Eurasian bee beetle (Trichius fasciatus) is closely related to the rose-chafers and just like them it is capable of extending thier wings without opening the elytra over the back which is a neat little trick. It is quite a lot fuzzier than those though!
I'm always forgetting that there's a glow to traditional IR photots that have been shot on film. This is an old shot that's been reprocessed for the diffused glow. See the original here: www.flickr.com/photos/static808/202562459/
Certainly not a unique pose, but I really like this shot -- especially because the bride and groom "got it" when I told them to "almost" kiss, rather than lip or tongue lock ... like so many other couples do. The KEY to getting this photo right is getting them to let me capture the moment BEFORE the kiss as they blissfully close their eyes. You want to capture the "anticipation" of the moment they kiss, rather than the kiss itself. The whole idea is to get the couple to act as if the photographer isn't there. It should seem like it's just THEIR moment ... which just "happens" to be caught on camera. About all I did in post was to add some diffuse glow to the skin tones.
As for lighting, we took this shot within minutes of the sun setting and faced them towards the remaining light in the sky, or as I call it, God's Huge Softbox. You get great soft light and warm skin tones in that light. And you only get that light for about 15 minutes during sunset. BTW, if you do this shot, do it with the bride on the left and the groom on the right. That way you get her ring and his boutonnière.
Oh, and it really helps to have a good looking couple. Especially a bride with a gorgeous neck and chin line. =)
San Francisco Bay Area Wedding Photography
© David Ball: 2008 - All worldwide rights reserved
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Cerotainia sp. Found at O’Connor private property (Prairie Haven) in west-central Wisconsin. Buffalo County, Wisconsin, USA.
Single exposure, uncropped, handheld, in situ. Canon MT-24EX flash unit, Ian McConnachie diffuser.
Wide field on IC 405, the Flaming Star Nebula, in this photo IC 405 is visible on the left, IC 417 on the right and further to the right still M 36, in the upper center NGC 1893, and in the lower right M 38, are 6 hours of exposure in HSO with the Red Cat 51 Petzval Telescope, room
ASI6200mm pro 61-megapixel full frame Single camera on Paramount MX 6 mount, are 71 shots of which in Ha 3x300 seconds, in OIII 35x300 seconds and in SII 33x300 seconds, processed with Pixinsight. All data and shots were acquired with SadrAstro Observatory.
IC 405 (also known as C 31) is a diffuse nebula in the constellation Auriga.
It is a nebula elusive to direct observation, but very clearly evident in long-exposure photos, located 500 parsecs (1630 light years) away; in its direction we observe a blue star of fifth magnitude, known as AE Aurigae, a variable and enigmatic star: it would be one of the so-called "fugitive" stars, because they were born in the region of the Orion Nebula about 2.7 million years ago and from there they "escaped", dispersing into the Milky Way; among these there is also the μ Columbae. IC 405 shines due to the radiation received by AE Aurigae, which ionizes its gases and gives it a red color; the blue patches are instead due to the reflection of the blue light of the star on the dark dust.
Data obtained with the Hipparcos satellite showed that about 2.6 million years ago this star, μ Columbae and the bright binary ι Orionis were in the same position in space; it was thus hypothesized that these stars underwent a four-body interaction, in which two binaries belonging to the Orion OB1 association exchanged; the result was that the two most massive stars were subjected to each other's gravitational influences to become a new binary system, the current ι Orionis, while the two less massive stars were pushed away at great speed by the intense gravitational energy, moving away from the region of their formation and becoming runaway stars.
IC 405 appears to be connected with other nebulosity systems, in particular with IC 410, visible one degree to the southeast; in reality, these are much more distant objects.
This post describes a simple flash diffuser solution I've been using a lot lately as a complement to my regular beauty dish style diffuser. The basic concept is nothing new: the diffuser is attached to the front end of the lens and wraps around the subject creating the equivalent of a small light tent.
This type of diffuser is sometimes referred to as "cup diffuser" since the main component is usually some sort of white plastic cup (Stephen was the first I saw describing this idea so I consider him to be the inventor).
Besides giving an extremely even and soft light this type of diffuser has another benefit since it makes it easier to get a well exposed background. A common problem with flash macro photography is that while the main subject is easy to expose properly, the background – being far away from the light source in relation to the foreground – becomes relatively dark or black (and if you expose for the background the main subject is over exposed or blown out). This becomes less of a problem with cup diffusers since the diffuser also acts as a shade, reducing the intensity of light hitting the main subject and thereby compensating for the fact that it's much closer to the light source than the background (which is lit by light coming from the flash directly).
I've been using this type of diffuser for at least a year or so but there are a couple of things that I've found inconvenient:
• Different lenses need different ways of mounting the diffuser. If it has a good fit on one lens, chances are it will fit badly on other lenses.
• Switching between diffusers is fiddly. I often want to be able to quickly switch between this type of diffuser and a beautydish style diffuser attached to the flash (better for skittish bugs and sometimes gives a more dynamic (less flat) light).
• Closely related to the previous point: mounting/unmounting the diffuser takes time. You either have to pack the gear with the diffuser attached (which often takes a lot of room in the camera bag) or spend precious time in the field mounting/unmounting it. And of course moving the diffuser from one lens to another becomes troublesome to the point where it might even put you off switching lenses.
• As you use this type of diffuser in the field they are often subject to quite rough treatment. Some solutions I've tried has worn out in a few hours.
The solution I've arrived at works by using several different small mounts, customized for each lens but with a standard fit for the protruding "light tent" part (referred to as the tent from now on). The mounts can be left permanently on the lens without interfering with different types of diffusers or making packing the equipment difficult. With the mount in place the tents can be mounted/unmounted using one hand in the matter of seconds. It's also very easy to make new tents if the old get worn or if you want a smaller/larger or differently shaped one.
Obviously this idea can be implemented in many different ways and the one I'm showing here is just one that happened to suit my needs in terms of size, diffuser material properties and availability.
These ones were pretty tiny, making good macro subjects, so I would say this is just under 1:1 reproduction. I like the variation they show, some turn pink, some have white centers, others a yellow ring.
Nikon D7200 (APS-C crop sensor)
Micro-NIKKOR 55mm f/2.8 AI-S
(thus ~82mm full frame equivalent)
ISO100, 55mm, f/8, 1/250sec
reproduction ratio: ~ 1,2 : 1
tripod, focus rail, stacked (26imgs)
extension tubes, flash
Jumping Spider.
Cosmophasis micarioides - Female
Macro
Olympus OM-D EM1ii with m.zuiko 60mm macro lens PLUS 10mm and 16mm Mieke macro extension tubes. Godox TT350o flash with Cygnustech V2 diffuser.
OLYMPUS DIGITAL CAMERA
IG: @vladyurkov
Kodak E100 4x5
Chamonix 45f2
135mm f28 1/30s
2 stop SGND + 812
Kodak E100 rendition of the scene I posted shot on Ilford Delta 100 last week.
As much as I enjoy the monochrome sheet of film, I feel this version mirrors my recollection of the scene far more vividly. The colour transparency realizes the subtle interplay between cool and warm tones which originally drew me to set up my camera in a far more representative manner. The glowing warm orb of the sun diffused by a cloud inversion layer behind the pines is also distinctly more defined in the colour slide.
Taken from a mountain top near Udaipur. Due to the haze in India the sunsets tended to always be quite diffuse, but beautiful in their own way.
Lézard Ocellé d'Afrique du Nord - Timon pater
Sidi Mechreg - Tunisie
Flash diffuser : D.N.P Diffuser
Dreamtime Nature Photography