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Hi Everyone! I just want to share the third photo from my Vintage Hollywood Starlets series, titled Gossips!
Hope you like it and be sure to check out more of my work at www.fotosiamo.com
Photo by Joe Gunawan | Fotosiamo fotografie | fotosiamo.com
Models: Joanne Chiang and Gezzilyn Leon
Hairstylist: Dinah Raphaelle
Makeup: Stacey Hummell
Wardrobe & Set Design: Samantha Freedman
Lighting Designer: Brent Siebenaler
Digitech: Morgan Acaldo
Assistants: Donato Di Natale, Jules Ebe Rodriguez, Christian Bugay
Videographers: Gato Salazar and Glenicio Del Toro
Example of tabletop photography with use of a rechargeable LED flashlight as the light source. The Nikon is held in one hand with the Craftsman light positioned close to the camera, and gently resting horizontally upon the lens. Think of it as a light bar. While the resulting image did require minimal work in Lightroom to obtain the final result, the lighting in the unprocessed images was impressive as well.
From left to right:
3. digitech.com/en-US/products/grunge
A link to my photo albums:
Browsing through the menu on the camera and came across the double exposure options, not for the first time, unfortunately on this occasion the temptation was too great :D
Hi Everyone! I just want to share the third photo from my Vintage Hollywood series, titled Reflections!
Hope you like it and be sure to check out more of my work at www.fotosiamo.com
Photo by Joe Gunawan | Fotosiamo fotografie | fotosiamo.com
Models: Joanne Chiang and Gezzilyn Leon
Hairstylist: Dinah Raphaelle
Makeup: Stacey Hummell
Wardrobe & Set Design: Samantha Freedman
Lighting Designer: Brent Siebenaler
Digitech: Morgan Acaldo
Assistants: Donato Di Natale, Jules Ebe Rodriguez, Christian Bugay
Videographers: Gato Salazar and Glenicio Del Toro
Sitting on a Mackie SA-1521 2-way 500 watt powered speaker is a very portable live sound rack. On the top 10 rack spaces is a Mackie 1642 VLZ3, on the front 6 I have a Furman power conditioner, Digitech TSR-24 and Studio Quad 2 processors, Alesis Midiverb 4, and dbx AFS-224 and Sabine FX-1802 feedback eliminators; all connected together with balanced lines!
At the right is a Mackie 32-channel board on a home-built desk, with a Behringer 16 channel board above it. The Beringer is used to mix the output of the multitrack into a stereo pair, then route it into the Mackie. While the Mackie can switch any number of channels into tape-in mode, when you do so, you can't use the channels for anything else; since a lot of what I do is play over material I've already laid down, that's not very convenient. Hence the auxiliary mixer.
All the Mackie's channels are dedicated to something, usually in pairs. 1/2: floor bass processor. 3/4: floor guitar processor. 5/6: Drum kit. 7/8: rack bass processor. 9/10: rack guitar processor. 11/12: Roland drum machine. 13: Bass output from Roland. 14: Bass output from Kawai. 15/16: Kawai band-in-a-box. 17/18: AM/FM tuner. 19/20/21/22: Vocalist harmony outputs. 23: Wired vocal mic. 24/25: Jamstation. 26/27: Behringer mixer. 28/29: Keyboard. 30/31: 2 GB, dual-core Intel Mac. 32 is the rack mic system. The cassette deck comes back into the Mackie's 2-track inputs, and the main outs go to the amp rack. The 8-buss outs go right to the Fostex 24-track recorder (which is limited to recording 8 tracks at once, anyway, though it can play back all 24 simultaneously.)
There are three equipment racks; one is recording gear, one is effects, and one is amplification.
At the top left is the 8U amp rack. Top to bottom, there is a power distribution/filtering unit, a 24-bit crossover, power amp for mid/high, poweramp for the subs, and an EQ. Mids are handled by a pair of 10" driver and horn cabinets, sub by a dual-12" Fender bassman cabinet. 200 watts RMS to the sub, 50 watts RMS to each of the mid/highs. Audio comes from the main outs of the Mackie, into the EQ, then the crossover, which feeds the sub and mid/high amps.
Below that is the 16U FX rack. Top to bottom, power distribution/filtering, Digitech's Vocalist voice harmony system, a guitar / bass tuner, a two channel compressor / expander, a sub-bass and harmonic enhancer, an EQ, an SGX bass FX / preamp unit, GSP-21 guitar FX / preamp unit, Digitech IPS-33 guitar harmony generator, and a DBX RF mic unit with enhancement FX. Underneath the rack units, you can just see a Roland drum machine.
The right 16U rack is the recording gear, top to bottom, power distribution / filtering, power supply for the Mackie board, Nikko tuner, Fostek 24-track digital HD recorder, Tascam 2-track cassette recorder, Vestax 6-track cassette recorder.
Elsewhere are a Jamstation, a Kawai band in a box, a fender twin, a Behringer twin, a GNX-3 guitar FX floor unit, and a Digitech bass pedal.
Seven guitars, two basses, a drum kit, various mikes and a 61-key keyboard round out the studio.
I have a vintage Gibson Les Paul and a Fender Strat. Neither really suits me; the Strat's neck is too narrow, and the LP's is too flat (no appreciable radius.) I use them when I want that signature sound, which isn't all that often. Of all of my instruments, the guitars I prefer are a Washburn MG-74 and an Ibanez "Flying Squid", and the best bass (by far) is also an Ibanez, an SRX-705 5-string.
Modern technology has done so much to improve the necks, pickups and resonance characteristics of the bodies, it is almost a given that if you go out and play these, you'll be able to find a superb instrument for under a grand.
Please note cat lurking at middle left on top of Kustom amp head. Proper studio decor, that is.
This is part of my home studio; I just added some LEDs as illumination for the main board, and so I thought I'd take a shot of it. The intent was to illuminate the front part of the board (the knobs and such) but a useful bonus was that the jack bay on the back of the board is also brightly illuminated -- and all without brightening the performance area in front of it, which is good, because I prefer the dark. This is what it looks like without pushing the shadows.
There was a good bit of noise in the blacks (I pushed the shadow detail a lot so you could see the dark things like the Kustom cabinet and etc.) so I took four exposures, stacked 'em, pulled some noise reduction tricks with WinImages, and here you go.
Canon EOS 50D, Canon EF-S 18-55mm f/3.5-5.6 IS zoom @ 18mm, f/11, ISO 100, manual focus, IS off, tripod, available light, four exposures stacked, 10s shutter delay to give me time to get off the bridge (to reduce vibration.)
Shot was taken from the bridge between the bedroom and the studio.
Not visible, off to the right is the drum kit and another Kustom cabinet. Guess I need that Canon EF-S 10-22mm after all... :)
Another example of a Craftsman LED Work Light used as the primary continuous light source for digital photography. The camera focus point was set to left of center, about one third away from the top.
A link to my photo albums:
My pedals. I think that the only one I bought new was the Boss OD. The rest I picked up used here and there over a span of about 20 years.
Photo: Sony NEX-5N + Nikkor 50mm, f1.4
by Wilco
Audio: Epiphone Nighthawk + Digitech RP355 + iMac + Garage Band
Video: Nikon D90 + iMac + iMovie
For better view press letter "L"
All set for the shows of 2013. Pedalboard made by Purple cases, brand I endorse.
I used a sheet of white acrylic as background, on top of my bed.
More info @ www.purplecases.com
Strobist:
YN560-II bounced on the ceiling, pointed up from the left camera.
My Epiphone Les Paul Standard electric guitar. I used to gig around Brisbane. We played melodic metal and rock music. Then I moved to my new job that required me to travel all over Australia. That's when I was forced to get another hobby...photography.
I have tried replacing the pickups with OBLs but I found it too hot. It would feedback a lot when used with my Digitech DF7. In the end I had to put back the stock pickups. Just enough crunch and good for leads especially when I toggle to the neck position. The sound is fat and round.
Notice that I have replaced both volume top hats with speed knobs. I needed to be able to turn off the volume really quick for those sections where the guitar has to be dead silent.
Still learning how to properly light a subject. Here I used a single 150W flood lamp that I got for $16 at Bunnings Warehouse :) I will make my own diffuser and reflector if I have time. I will get a 250W lamp as well.
This may be the best shot of his equipment I took that night. See if you can help identify all the various pieces and add the note(s) to the image. Thanks!
Trey Anastasio show in Atlanta, GA at The Tabernacle.
Minimalism
I take just a couple pedals to rehearsal because they are instrumental in certain songs. My Crybaby Wah is indispensable! The Whammy pedal is ready for "Lonely Boy" but we haven't rehearsed it in a while. I don't operate the Carvin V3 without it's footswitch.
I have to be honest; Felix The Strat through the Carvin V3 and Marshall 1960B Vintage cabinet sounds pretty good. I'm not so keen on the merits of a three-channel amp anymore. Especially when two of the channels could be configured to sound exactly the same; what's the point? As much as I thought I would sell the Carvin to get a Mesa/Boogie Single Rectifier Solo 50 head and 2x12 cabinet I might just hang on to it and get the Boogie.
Another good rehearsal with Flytown today.
I spent the largest part of the day working on theme music for the podcast. I reconfigured the desk in the music room to use my laptop, Akai mini-keyboard, and audio interface. The biggest reason was so I could use my studio monitors instead of headphones. It was a fairly quick job of reconfiguration. My other goal was to discover what kinds of orchestra sounds I had in Studio One. There are some fairly good ones but the biggest thing I realized is that I am so fluent on guitar and not fluent at all on keyboards! I don't want to blame the small size of the Akai for my lack of dexterity. It is simply that I don't play keyboards nearly enough to flow the way the song needs. In hindsight, I may lower the tempo and record the keyboard parts then bring it back up to actual tempo so it will be smooth.
It was clear that I need a drum machine or a better drum program. I have a very limited set of sounds and patterns in the free version of EZ Drummer but I'm not sure if I want to invest in registering that application and getting more sounds and patterns or get some other program or simply get a hardware drum machine.
The other obvious discovery is that I could spend hours making music and love it!
I dropped the latest podcast recording (episode 6) off to TC before heading to rehearsal.