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Dont really do to many setup shots, this is one for a shoot i did today, ill throw it up later in the week. This kind of photography isnt really my thing but i did rather enjoy it. I think it is because I dont do this sort of thing to much.
Feel free to add notes etc if you have something to add.
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This is my setup, my 6 month old Macbook, The desk is very old, took about a month to get everything on it. The speakers are attached to my Airport Express to the left of the desk.
Macro Setup
© copyrighted image; all rights reserved.
My macro setup as of now:
Canon EOS 40D
Canon EF 100mm f/2.8L IS USM Macro
Kenko 1.4 Teleplus Pro 300 DG 1.4x Teleconverter
Kenko Extension Tube set (12mm + 20mm + 36mm)
Tripod collar
Manfrotto 323 RC2 Quick Release
Manfrotto 454 Micropositioning Plate (macro rail)
Manfrotto 410 Junior Geared Head
Manfrotto 190XProB
Not in the photo: Timer Remote Controller
I've noticed that using the tripod collar makes a lot of difference in stability when using the extension tubes. Without it, the lens becomes a little bit wobbly and unstable, especially when the full set of extension tubes and extender are being used. The tripod collar I'm using is NOT the Canon one as I found it just too expensive.
Strobist information:
Rim lighting with two D-Lite 4 It with Portalite 66x66cm soft boxes.
My setup as of December 2009.
I've got a 22" HD Ready TV with Xbox 360 Elite, Playstation 3 (40GB), Nintendo Wii, Playstation 2 and N64 hooked up to it in some form. The only thing I really use the HD for in the Xbox atm. 3 racks to hold games; I've got 22 Xbox games, 23, PS3 games, 11 Nintendo Wii games, 13 N64 games and 43 PS2 games in there. I also have a stand near by to hold my GH guitars and such
Hommage to Setup KCW (best viewed large)
I painted this a little while ago in Shanghai in hommage to my good friend and in a way my graffiti mentor Setup KCW. It's been a long time since I last saw him and I have been wanting to paint a hommage piece for him for a long time, just could never find a spot that I thought good enough. The other day when I noticed this huge building that had just recently been closed down I imediatly decided to go and hit it up. Many different ideas of pieces and colors came to mind but I decided that the best hommage I could do was to reproduce his throwie in negative fill. And so that's what I set off to do. A month has passed and it's still there, untouched ... very rare for a throwy in Shanghai.
I met Setup back in 2000. I had already been painting for around 6 years and thought I had most of it figured out, focusing on painting (quote) burners (quotequote) and the traditional french block letter silver styles. My tag was just a poor excuse for a hand and I didn't even have a throwup. We met through another good friend of mine and kcw crewmate Tare. When I met up with Setup I imediatly got into a liking of the guy. A very discreet and humble individual who really gave a lot of thought as to what he was doing and where it was going. Talking to him I realised that I had it all wrong. For one thing graff wasn't about doing a pretty picture that other "graffiti writers" will like but about getting noticed, finding your own style, exploring possibilities. It's real easy to look at a bunch of pieces, see the trends and mix'n'mash into a "fresh" trendy piece but then you'll be forgotten just as quickly as you got appreciated. He taught me to see each of my letters as individual characters with expressions and attitude (ie an angry E a lazy S...) and pushing that thought to all the different parts of a piece. An example of something he'd do was a that very simple and structured straight letter then adding a shaky shivering P with a wierd face in it. At first I was like ... huh what? ... and then I realised that these small details gave so much character and uniqueness to your piece that makes it stand out from all the others. He also made me see the relationship between all the diferent aspects of writing, the connection there is between a tag - a throw up - a simple letter - a wild style ... working on everything together helps you find new ideas and evolve whereas if you simply focus on one or two aspects you will tend to stagnate no matter how much you paint. A tag makes you see the relationship between each letters in its most basic form, a throw-up makes you see the mouvement in the letters, a simple style helps you work on structure and a wildstyle on creativity.
I kept contact with him for a long time, and every time I'd see him we'd talk for hours about graff and styles ... not giving a damn about any graff gossip ... just about our evolution. He had a very strict idea about graff, how it had to be illegal from start to finish, how it couldn't and shouldnt be bought by corporations, how it was something that can only belong to ourselves.
A real talented fellow that I believe I owe a lot to.
A little setup I did outside yesterday. Got a few cool shots with this Cobra Bunker in the background. It's a very simple playset and actually kind of flimsy, but gives a great effect.
Elinchrom ELC CR, Elinchrom Quadra bare CL rear, Nikon SB900 CL front. All aiming up at white poster board.
Setup for these two shots:
Setup shot of Fi doing her Washing. It's as simple as it looks, 1 60cm square softbox on the left hand side, and a black panel down the right to outline Fi a bit better.
Blog: www.photosmudger.com/
Paul Smith's Model Shoot Workshop at:
studioimaging637.com/
Strobist Info:
Beauty dish high over black seamless background at f/5.6
Two gridded strip boxes behind and to each side of the model at f/8
Softbox to camera left as main light at f/11
Silver reflecting umbrella behind and to right of camera at f/5.6
Triggered by PocketWizards Plus II
This is the lighting setup that I used this morning to take a few pictures of hummingbirds coming to one of our feeders. I prefer not to have the feeder in my pictures so I clipped a couple of branches with flowers onto the support for the feeder. It's a more natural look. When I'm using this setup, I'm inside the house shooting through the window after first removing the red curtain. I took this picture after I had put everything away, so I had to set it up again, and the lights are not all at the height I used to originally photograph the hummers.
The setup is a YN560, a YN560-II and a YN560-III on light stands pointed at the feeder. The strobes are triggered by a Yongnuo RF-603N on my camera.
People seem to find these setup shots helpful so every so often I post one to share what I've learned from others. I didn't figure this out by myself. Other setup shots I've posted are in my Setup Shots album.
Setup Shot for 042/365 Little Sisters Rule.
Camera Info:
Canon 7D, Sigma Lens 17-17mm @17mm, f/13, 1/60s, ISO 100
Strobist Info:
-2 Canon 430EXII's Camera Right and in front of subject, FULL Power, @24mm zoom, about 5 feet high, 3 feet away from subject inside 40 inch softbox.
-Canon 430EXII Camera left and behind of subject, FULL Power, @105mm zoom, about 5 feet high, 10 feet away from subject fired bare.
-Flashes triggered with Interfit Strobies. The sun was not triggered by Interfit Strobies.
Home office setup. Most of my work is done on the PowerMac G5 Quad which is also powering two 20" Apple Cinema Displays. Moreover, I own a iBook G4 which I use for presentations. I shall soon be upgrading to a Macbook Pro later this year. Also I own a Fender Strat and constantly read mathematics books.
High magnification setup:
EOS 500D/T1i
Ext.Tubes
M42 Macro Bellow
Meyer-Optik Görlitz Trioplan V 100mm f/2.8
Canon EF 50mm f/1.8 mark II (reversed)
Extension length:
(Ext.Tubes x2 + m42 Macro Bellow fully extended) 24cm
Working distance:
(from tip of the lens to focus plane) 1cm
Magnification:
(5:1) 5x
My specimen photos are taken using this setup. The base is a block of wood from the offcut bin of a hardware store that sells kitchen worktops. The camera is attached directly to a BPM focus rail, which is mounted on a tripod quick-release plate, screwed to the base through another small piece of wood. The rail allows me to move the camera and coarse focus it. At the other end of the table is the specialist equipment: a Proxxon KT 70 table, screwed to the base. This is a low-cost alternative to linear actuators or stacking rails: one turn of the handle moves the table 1 mm. The divisions on the dial are 0.05 mm, so by moving to half way between each one I take frames at 0.025 mm intervals, which is narrow enough for most whole-insect photos I take. Smaller intervals are possible with smaller movements of the handle, but they are not easy to measure. This idea came from John Hallmen: you can see his setup here. Without his advice, I would not have been able to do any of this, so thank you to John and to Nikola Rahme; two people whose photos I greatly admire and who have shared their techniques freely on flickr.
A SIlverline Helping Hands is mounted on the Proxxon table. The crocodile clip holds a piece of plastazote in its jaws; I stick the specimen's pin into the plastazote and try to get it in the same plane as the camera sensor. This is fiddly: a vertical setup would be easier for this, but it would need better handiwork skills than I have. A heavy granite base would also make for a more stable setup, as would a concrete floor instead of a wooden one, but there is nothing I can do about that in my house.
Lighting comes from a flourescent tube desk lamp. The lamp would not hold itself in the right position, so I broke it off from its stand and I held it in a clamp stand instead. I use a simple cylinder of greaseproof paper as a diffuser: this is just pushed on to the end of the lens. To help get a more even light I have a sheet of kitchen foil as a reflector opposite the lamp. I also fix on the camera a 26mm stepping ring with foil over the front, another idea from John Hallmen, explained here.
I have tried other lighting, such as using two Ikea lamps (like the one that carries the foil in the picture above), each with a plastic cup over it to act as a diffuser. But the setup shown here is the one I have come to prefer.
I use Zerene Stacker for the stacking, with DMap as my main image, retouched from the PMax image where the detail is lost in the DMap. Then the image is edited in GIMP before getting a posting here.
read about how I set-up my Personal Domino as my main planner :) breakitdawns.blogspot.com/2013/11/planner-setup-personal-...
Lighting setup for a photo shot described on my blog:
www.akelstudio.com/blog/food-photographer-in-atlanta-chic...
Setup shot for 055/365 Just Kicking It.
Camera Info:
Canon 7D, Sigma DC 17-70mm 1:2.8-4 Macro HSM @17mm, f/9.0, 1/60s, ISO 100
Strobist Info:
-Canon 430EXII Camera left and in front of subject, 1/2 Power, @24mm zoom, about 3 feet high, 3 feet away from subject through 40 inch Wescott softbox.
-Flash was triggered with Interfit Strobies.
Here is the setup shot for the two shots below if anyone is interested. Also if anyone sees some differences they would make on the placement let me know. I had to keep the strobe relatively close to the back of the train as it was super windy and that octabox would tip over pretty easily if any big gust of wind came about.
ab800 into a 47" octabox
fired using pocketwizards
Hello again,
this is my water drop setup at the moment.
As you can see I have 2 external flashes, 1 Nikon D90 camera, 5 plastic foils with diferent colors, an IKEA shere, one bowl to have milky water in it, One device to attach the dripper in, a baby drinking thing as water dripper, 2 claws to keep that device in place, some aditional water on the right on the flor, and finaly one skrew to use to get right focus.
Remember the setup:
- ISO 100-200
- F/16
- 1/60s
- Flashes on 1/64 power
- 2-5 cm water with milk in it
- Camera at a 30 degree angle
- Use the srew to get focus, place it where the drop lands.
- All on Manuel on the camera
- A good lence, 2,8, 90-110mm
- IS/VR off
- 25-60 drop range
- conditor colors to add color to the drops, when you want to.
Remember to remove the screw after focused. :-)
Will paste some samples as well. Aso remember you
One light setup, family portrait. Gold reflector bouncing sun light. Camera setup 5d mk III with 70-200 f/2.8 IS II, f/5.0 1/320 ISO 200
Here is the setup shot for Cristal Beauty. I had her hold the Moon Unit for fill seeing that I dont have a reflector.
B800 through BD w/sock. ABR800 on background
Here is my setup that many of you were asking for!
I would suggest to everyone that it is NOT a good idea to have your drop setup in any room with carpet. I was able to get my whole setup cleaned and all the nasty water into a gallon pitcher. But that gallon pitcher never made it out of my room. Now it rests as a BIG green splotch on my carpet. Lovely
I spent many hours trying different setups. Most of my drop pictures i have uploaded recently have been in different setups i had. This is my final setup that suited me well!
Result:
2010.
setup for this.
featuring 'Lizzie' sunglasses from Wintercheck Factory (www.wintercheckfactory.com/shop/1175-LIZZIE-SUNGLASSES)
Model & Wardrobe: Alexander Parker
Hair & Makeup: Zach Taylor
Assistants: Brittany Sturrett and Jessica Whitehead
Strobist: Two Profoto Acute2 packs, 5 heads. One high, center, and front (key); one high center and back (hair); one on each side and back (rims), one behind model for background light; all were gridded 10°. Alienbees ABR800 Ringflash on-camera.
Here's the setup for my levitation shot and my jump kick shot.
2 Nikon SB-600s at 1/2 power with Honl Speed Gobos blasting the wall.
Vivitar 285HV at 1/4 power in a shoot-through umbrella.
Red laundry hamper is approximately where I stood/jumped.
Tripod is where the camera was.
I think I'll be using this room as the studio from now on. Lots of space is nice. :)
More on my blog.