View allAll Photos Tagged setup
Thanks to LearnMyShot for the back lighting ideas! They have an awesome tutorial which inspired this shot. Check it out: www.flickr.com/photos/learnmyshot/4318729569/
The previous portraits were done in my spare bedroom.
I metered for ambient then reduced the exposure by about 2.5 stops. I then manually dialled up the flash power until I got the lighting I was after.
setup shot... Is my bounce too far away from the cupcake?
Learn how to light at Strobist.
Homemade 10 inch cube lightbox with difussion panels (tracing paper) fitted to the sides. Two flashes, Canon 430EZ on the left, Yongnuo YN460 on the right, both set to 1/32 power and fired with radio triggers.
Result from this setup can be seen here:
I really need to find a bigger water tray, as this was really pushing the limits of how big an item I can shoot in it. The little wooden boat is only 5inches/120mm long, but a really tight fit.
This view of the setup also shows better the lovely blue colour which is from the blue sheet of card behind. This is placed against black, so when the water was disturbed by blowing air through a drinking straw, the ripples produced darker shadows, combined with lighter highlights from the flashes glancing off them. There is method in my madness :)
Lighting was from a trio of Neewer SF-01 mini slave flashes. One on each side angled toward the backdrop but allowing some light through tracing paper screens to fall onto the boat. These were activated by Blazzeo SLT-4 radio triggers.
The third flash was located behind and below the tray, pointing back onto the base of the backdrop and activated by its optical sensor.
This was fun to play with and I quite like the images produced, one of which is below.
This is now becoming my favoured setup for a white background in the lightbox.
Three Neewer Mini Slave Flash units, one each side and the third from above, all fired with radio triggers. The lightbox is fitted with tracing paper diffusion panels on the sides and white printer paper in the top panel to give a softer overhead light.
The seamless backdrop is from a roll of fax paper, which has really good reflective qualities, the non-coated side being used, as it doesnt mark up like the coated side and gives a smoother finish.
The desk lamp at top left plays no part in the lighting, it is just to aid focussing and overpowered by the light from the flashes.
If you have come straight to this setup, the result can be found here:
Looking at some incredible macro images on Flickr fired me up to have a go at tabletop macro at magnifications far greater than 1:1.
Not sure how I would get on, so the budget was set at £10 and make use of whatever I had around.
Starter was the base and that is from my old Phillips PCS2000 enlarger. I made a spacer and bolt to attach the macro slide.
For the subject table I was looking for movement in 3 orientations, so used the compound table from my bench drill. To save the compound table scratching the enlarger base it is mounted on 4 rubber feet I bought in Maplins. Bolted to that is a vertical rising table to sit the subject on. This is the focus stage from my enlarger topped of with a bit of aluminium held in place by electrical tape.
The flexible flash bracket is a gooseneck microphone stand also from Maplins. As bought this was not stiff enough to support the flashgun so I inserted 5 lengths of fencing wire to stiffen it up. This is topped off with a ball head taken from an old Jessops mini tabletop tripod.
In addition to all that I had to do a mod to my 1980's Panagor Auto bellows. In its native form this is not stiff enough to resist vibrations at high magnifications. So the front standard was drilled and tapped and the bellows attatched to a length of aluminium. The rear standard has the main fixing point and a groove was cut in the ally base to allow the front standard a degree of front rear movement before it is locked down. This is visible in view2.
In the setup shown the extension is 230mm. This is made up by the bellows, and Nikon PK12, 13 and PN11 extension tubes. A teleconverter can be added to the camera for even greater magnification, and that was the setup I used to take the 'Ballpen Tip' in my photostream.
This was how I built the lighting setup for my recent podcast shots.
1) First, I shot the background light, got it the way I wanted, then turned it off and worked on the kicker.
2) I worked on moving the kicker light to get the right side highlight I wanted. Then turned it off and moved onto my front keylight.
3) Now, i worked on how the front light would look.
Then, after i had each light individually setup... it was time to fire them all off at the same time in concert. Tada.... one final setup. It's like concentrating on each light on it's own was easier and able to see what it was doing. Then fire them all off and wham. You got it!
So... this is my setup for capturing these suckers. See.. it's quite simple no?
Ok... water on like a little trickle, you can be the judge for that. I took the images handheld... but for this shot, I had to stick my cam on the tripod. I had the lens sorta sitting on on the sink for a lil bit of support while I focused and shot the image. I used the built in flash, didn't really harm the image in my mind. Like I said... this is quite simple. I used to think it was so absolutely complicated and didn't want to try it... then after trying this I'm like this is just jujubee.
If anyone tries I want to see how goes :)
Setup shot for shooting the Porsche photo in my very small home tabletop studio.
Sometimes I don't know if I'm taking photographs or doing Yoga exercises...
Check the notes for detailed comments.
The final result is here:
Arduino and hiviz.com audio trigger setup for Milky Music..
There is some stuff on the experimental board, which is no longer used.. And I know, its not really nice, but it works..
Assembly instruction for audio trigger can be found on www.hiviz.com
Setup shot for these shots - mine, and the published one.
Notes should explain everything.
Blog: www.photosmudger.com/
3 light setup- 2 aimed at the rear and one in a hybrid/umbrella softbox. All triggered by Pocket Wizard. Strobes all at full power
Simply put: blue gel on the left speedlite, the other one was bare. The yellow/orange tone was achieved via White Balance. The modifiers were a 1/4 Honeycomb in the left speedlite (Neewer TT-660), and a 1/8 Honeycomb on the speedlite at the right (Neewer VK 750 II) The TT-660 was at 1/4th power while the VK 750 II was at 1/64th.. You can see the glases thwrown on the table in order to produce the light bokeh behind (cheap trick, I know, but I really like it). 50mm at f/2.2 in order to achieve the bokeh (of course) and that's pretty much it.
You can watch the finished photo here :)
Setup for Lagunitas IPA.
Strobist: SB800 to the left and above with shoot through umbrella, SB800 to the right and above, SB800 behind and bounced off the rear wall. Also the bottles are sitting on an old home made light-box that used to be used to sort slides. All fired with pocket wizards.
Strobist info: sb24 and sb26 1/4 power and zoomed to24mm for background. sb26 1/8 with white shoot-through umbrella camera right
setup for this
Set up shot for Viru beer. I couldn't get far enough back to show the whole set up in one shot, so it's a badly stitched composite. Things are a bit screwy on the right hand side of the picture.
This is the makeshift low hide I used to photograph birds feeding on the fallen apples.
The hide just used wooden batons for the frame, and I stretched a hammock tarpaulin over them. Inside I used a groundsheet, and a self-inflating camping mat to lie on. I had a modified Manfrotto 190 tripod with shortened legs I use for macro photography and a cheap gimbal head.
My very expensive macro photo studio.
Used to take e.g. this picture: flickr.com/photos/30588268@N03/2934491430/
Lighting setup for flower bouquets (the one in this shot is not the same as the ones posted here and here)
SB28 camera left @ 1/2 power fired by PWII
SB800 camera right @ 1/2 power fired by PWII
SB600 (behind SB28 in this shot) @ full power to light backdrop fired by PWII
Gave this setup/shot a go after reading DH's post here - although such a small subject wasn't going to be a problem however!
Here is the setup I used for these nickels and this loonie. I took the picture in case i needed (or wanted) to set up the thing again
The light starts at the lamp, reflects off the glass of the frame onto the coin and illuminates the coin straight down.
The camera takes the picture through the glass straight down.
The black thermal tube is to avoid reflections from the sewing machine box off the glass in the frame into the camera.
Here is a pic of my recent lego setup.
Thought I would share how I do it.
430EX2 on light stand triggered with RF-602.
On the 430EX2 is a black A4 bit of card rolled up to make a snoot.
Image here www.flickr.com/photos/louisedavis/6866068593/in/photostream
Only one light for this one.
580ex @ 1/4 power in softbox
triggered by pocket wizards
This kind of set up can lead to unwanted light bouncing around and interfering with the shot. The black card everywhere was to try and eliminate this.
I usually take the setup shot after I've finished taking pictures. However, this shot demonstrated the spill of light, and it would have been a help to see this during the take!
Here is the setup I use to get almost all of my diecast photos and the pictures of my cameras. If you've seen either of these two items in my photostream, you'll recognize which ones were taken with this setup.
1. Photo stand what I built
2. Clipboard
3. Empty instant tea jars
4. Prop for background
5. Subject
6. Background for subject
7. Camera
8. Sturdy tripod
A little explanation for all the numbered items. The photo stand is something I built and has become a permanent addition to my photography needs. However, this setup can be done anywhere you have a flat surface of about 2' x 2' in area. The clipboard is just something I use to shield the light from above because it has the required width I need to cover over my background, which is usually 8.5 x 11 inches of computer paper or photo paper. The empty instant tea jars are excellent for holding up the cover because they have the required height to clear my subjects and they have a good surface on top with which to balance my light shield; which in this case is a black clipboard, but a piece of heavy cardboard will work just as well. The jars also work well because they don't cause shadowing from my lightsource.
Number 4 is something I use to hold up my backdrop behind my subject at the required angle, and can be anything. In this particular case, it's a 18-70mm zoom lens! The subject of this setup is another one of my old cameras, but it could just as easily be a 1:64 scale diecast vehicle - or anything that will fit inside a width of 8.5 inches or 11 inches if I turn the paper around for a bigger subject. When I do require more width, I use another piece of identical paper to stand in the back behind the front piece and clone out the line where they overlap.
The backdrop, number 6, can be anything you like, but I use either a sheet of clean bright white printer paper or glossy photo paper. The reason I sometimes use the glossy photo paper is because it leaves a good reflection under my diecast cars. I also have a sheet of photo paper that I have printed a gradient blue to white solid pattern, and one gradient gray to white solid pattern, and by positioning them in such a way, I can highlight diecast vehicles with light colored paint better. (You can use just about any color you like.) It makes a darker background and lighter base and foreground, which really makes some cars stand out.
The last two items are my camera and tripod. For this demonstration picture, I used one of my old 35mm rangefinder cameras, but usually I use my Konica Minolta Maxxum 5D digital SLR because I can get instant results and digital photography is cheap to develop. (Free!) But, once you have figured out your average settings, a film camera will work just as well.
Lastly is the tripod. It helps if it's fairly sturdy because I stand with my feet on either side of it while holding two sheets of blank white legal size printer paper. (Or any size of some reflecting material - tinfoil wrapped around cardboard, for example.) I position them on the left and right of the lens and move them around constantly so that the light they reflect from above ends up lighting my subjects in a uniform manner after the long 20-30 second exposures I normally use. I'll twist and turn them left and right, then up and down so that the background paper showing to the left, right and above my object gets lit as well. I try to expose it in such a manner that my subject is well lit, but the white background is evenly lit, without any shadows. The glass jars ensure that no ambient light is blocked. I just have to make sure that as I'm waving the two sheets of paper, I don't ever cover the front of the lens during the exposure.
One other note about this setup I use. I expose my pictures in the 15-30 second range, with the aperture stopped down as small as it will go. The more I can stop it down, the more depth of field I can achieve and have more of my subject in focus. For tiny cars filmed up close and longways, you need every bit of clarity you can get! A long exposure is needed to light my subjects well enough through such a tiny lens opening. If your lens doesn't stop down to f/36 like mine does, your exposure lengths will probably not have to be quite as long as mine. Digital photograph is great because it allows you the freedom to experiment as much as you need to and you only have to keep the one shot that turns out perfect! And by using an ISO in only the 100-200 range, I keep most of the noise and grain out of my pictures.
Below you can see what the shot looked like that is pictured in the above setup.
If you have any further questions, or I have been unclear about a certain area of this setup, don't hesitate to ask! I hope this helps you take interesting pictures of your diecast vehicles or whatever your hobby is! It helps me immensely in what I do and saves me tons of money over not having to buy expensive lighting equipment.
0738cf
Trying out the new Pringles tube reflector with the lightbox. More details on the reflector and how it was made can be found here www.flickr.com/photos/steveblackdog/4668956897/
The lamp holds a single 20W Warm White CFL bulb (2700K), the reflector throwing all the light forward.
For this shot, a single sheet of tracing paper was used to diffuse the light and I removed the panel to the left as I didnt want the light reflected back from that side. There is a sheet of white paper inserted in the top panel which bounces a little back onto the subject from above, but because the light is very directional, it doesnt make a big difference.
The backdrop here is black felt which gives a really deep black and soaks up light well (Velvet will act in a similar way). I was quite surprised seeing this shot, how much blacker the felt was, than the Fun Foam which can be see behind and above it.
The shot from this setup is here
Setup for taking a shot of a special edition Xmas pack of Pringles using a striplight made from a similar pack. Just couldnt resist it.
The striplight was mounted on a Yongnuo YN460 set at 1/2 power, on top of a small tripod and Blazzeo SLT-4 radio trigger, so it was positioned approx 12inches/300mm above the subject.
Additional fill light was provided by a pair of Neewer SF-01 mini slave flashes, also fired by Blazzeo triggers.
One placed to the right and shot through a double difussed screen of white paper approx 2inches/5cm apart to reduce the light of the fixed output flash.
The second was placed low and fitted with a snoot and DIY drinking straw grid to give a very narrow beam onto the white on the underside of the pringles tube and a little onto the chips themselves.
Surprisingly the positioning of the lights only required a few minor tweaks to give the effect I was after, surprised me anyway :)
Deatails of the striplights construction and the image produced from this setup can be found in the comment below.
Setup shot for 032/365 Come Original.
Camera Info:
Canon 7D, Canon L 70-200mm@84mm, f/16.0, 1/80s, ISO 100
Strobist Info:
Canon 430EXII Camera Left, full power, @105mm zoom, 40 inch soft box, 5 feet high & 2 feet away from subject.
Canon 430EXII Camera Right, full power, @105mm zoom, 40 inch soft box, 5 feet high & 2 feet away from subject.
Canon 430EXII Camera boomed above camera,1/2 +.7 power, @28mm zoom, 10 inch beauty dish 9 inch silver reflector, 9 feet high & 6 feet away from subject.
Flashes triggered with Interfit Strobies.
Side Note: These are 2 softboxes at my work we use for continuous video lighting. I took out the lights and rigged a way to keep my flashes inside.
My inspiration for todays shot was from the lighting setup of Michael Herb's 31/365 shot. I really liked how he lit it and wanted to try to achieve the same look with my equipment. I don't think I achieved exactly the lighting/shot I was hoping for but I think I have a better understanding of what to do next time. If you haven't check out Michael's work, you should definitely hop over to his stream. His 365 project is rockin!
Occasionally I get questions about my setups, so I captured this one for Beetlejuice vs. Batman. As you can see, the "diptych look" is captured in-camera: no post-processing.
The back "wall" is posterboard. The two paper patterns are attached to the wall with sticky notes.
The "floor" is a dark wooden shelf with the two paper patterns positioned to line up with the wall patterns.
The "ceiling" is a 43 inch Opteka translucent disc reflector, a Christmas gift from my brother. Positioned on top of the ceiling is a $1 battery-operated light with a slight yellow hue (over Beetlejuice) and a disc-shaped LED with a slight blue hue (over Batman). Attached to the left side and aimed at Batman's face is a clip-on LED with a cone made of aluminum foil.
In the setup photo the room's lights are on, but for the actual photo they were turned off.
The camera is positioned just out of frame, relatively low, and pointed slightly upward. From this angle, moving Batman slightly forward helps hide the height discrepancy between the two figures.
As always, the colors, levels, etc. are tweaked in iPhoto before I upload to Flickr.
Setup shot for:
www.flickr.com/photos/jameshamiltonphotography/3017498996/
I must part with my baby, anyone interested??????
S: SB28 L and R bounced into white brollies. SB 24 and 580 pointed at white seamless. 500DG above pointing down on kit.
In getting ready for sale I decided to get a nice shoot done of my all time favorite drum kit. I will keep this as a memory of my drums when they are gone.