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This is the setup I used for this photo : 16" beauty dish overhead. shoot-thru umbrellas from sides. I used v-flats to cut the light from the umbrellas in order to avoid lens flare (ironically I ended up added one in Photoshop). It's just that with the v-flats this picture would have been pretty useless.
Strobist setup:
- 430 EXII @ 1/8 through 28" Westcott softbox cam left
- 430 EXII @ 1/16 into golden reflective umbrella cam right
- 580 EXII @ 1/2 through 50" Westcott Softbox
- EOS 5D MKII @ ISO 400 1/160
- EF 27-70 2.8 L @ 70mm f/10
- triggered with Phottix Tetra
My new office setup, including my MacBook Pro 2.16 GHz 2 GB, LaCie external HD 250 GB, Griffin Elevator, Apple wired keyboard and Apple wireless Mighty Mouse.
Read the notes on the picture. See the final shot here. flickr.com/photos/kevdiggs/113817310/in/photostream/
I keep getting asked to post my "setup" while on various forums and sites. While not the best picture I've taken, it does what I need it to do.
In shelf order: -
26 inch Samsung HD TV, along with my alarm clock, Nintendo DS, 360 controller (with Chatpad attached), Xbox Live Vision Cam, and the "power brick." The two figures on the base of the TV are from the collectors edition of "City of Villains."
Xbox 360 Pro (with Halo faceplate), HD-DVD add on for the 360, and an Icy box (which converts an old HDD into an external USB HDD, so I can play media through my 360). Also pictured are the "play and charge" cable, and the wireless Xbox Live headset.
Playstation 1, Freeview box, Phillips DVD player, and Orion VHS recorder.
Xbox, and Nintendo Gamecube.
The headsets hanging from the wall are additional wired ones, for the 360.
A video of my setup can be found here.
More information on my setup can be found here.
setup for the following shots:
www.flickr.com/photos/jayceg/3383433119/
www.flickr.com/photos/jayceg/3320590891/
www.flickr.com/photos/jayceg/3320590473/
Vivitar 285HV left through umbrella and Nikon SB-24 right in DIY beautydish.. the flash in the background I forgot to turn on the pocket wizard.
A wonderful IMAX evening, and let me just say, without spoiling any of the story line pre-release, that the word “stay” in the movie is the perfect setup for the Sentinel Mission.
Astronaut Ed Edward Lu opened with a story of how they would sit on the shuttle roof flying upside down and backwards — a glass-bottom boat screaming across the panoply of thunderstorms crackling like muted fireworks below, while eating freeze-dried spaghetti and waxing philosophic about the fate of the Earth.
The Interstellar movie itself sprinkled so many 2001 Space Odyssey allusions that it makes my head spin. Perhaps it’s inevitable with a long movie that ends with a trippy sunsplashed jaunt of awe and wonder, but the soundtrack remix, obelisk bot, docking to spinning station, and gas-giant flyby (swap Saturn for Jupiter) drove the point home. But it continued right on to the cover image from Arthur C Clarke’s subsequent novel Rendezvous with Rama.
The opening previews were the Trial by Fire promo for the Orion capsule and the B612 Impact Video on how the nuclear test ban treaty sensors have detected 26 explosions over the past 13 years, ranging in energy from 1 to 600 kilotons, and all of them from outer space.
Sentinel Mission will enable us to defend Earth from catastrophic impacts by detecting the possible threats and modeling their trajectories for the next 50-100 years, allowing plenty of time for deflection of dangerous paths.
Setup for a shoot i did today, first day of decent weather.
My brother who's back from college needed some new pictures.
Got a few good ones of him and of my friend cody.
I'll post them up as i get them edited.
Lighting Info
B1600 through beauty dish above subject
Sun behind subject for rim light
Fired with CyberSyncs
More setup details in the on-picture notes.
Private Flapjack's vision returned to normal shortly after the shoot
Setup shot. My first attempt at food photography.
Strobist: Old Achiever flash in a Makeshift softbox behind food camera right, poster board front left for fill reflection, and one more old manual flash behind the food to light the bottle of olive oil.
Check out the shots from this setup Here! and Right Here!
This is my Fire Photography Setup:
-Canon 30D Gripped with 17/55 f2.8 IS
- Canon Digital Rebel Gripped with 70-200 f2.8 IS
-Used set of Wichita Fire Department turnout gear
-Ben II Plus Helmet
-Reflective Vest
-Pelican Case with Velcro inserts
-Motorola MTX8250 Radio
-Radio Shack Scanner
-2 Motorola Pagers (Different Departments)
Bouncing to the ceiling leads to unwanted shadows under the chin, direct flash leads to harsh and short shadows and red eyes, *but* -- the trick is:
Bouncing to the wall via this little mirror glued to the internal popup flashlight gives a nice window-like daylight effect!
Setup
www.flickr.com/photos/galllo/4492329973/
Camera mod
www.flickr.com/photos/galllo/4492388345/
Result
www.flickr.com/photos/galllo/4493030098/
Is this idea new?
I know, it's plain and simple, but I am a little bit proud of it because it is so effective...
Strobist-setup:
- 580 EXII @ 1/16 24mm through Westcott Apollo Micro Softbox above cam
- 430 EXII @ 1/32 105mm with snoot infront of cam
- EOS 5D MKII @ 1/200 ISO 50
- EF 50 1.4 @ f/1.4
- triggered with Yongnuo RF-602
For those who might be interested, here is a picture of the setup and a few details.
Macro 90mm lens mounted on Canon UK 6D, below that a sheet of glass and below that an iPad used to display the images to be photographed.
On the right you can see some window cleaner, water mister spray and most importantly is the Rain-X, this is used to coat the glass, allowing the water to bead up correctly to form the lens.
Clean the glass and apply the Rain-X, allow it to dry fully, then spray the glass, aiming for largish drops, now leave it alone for half an hour, this will allow the smaller bits of water to evaporate away and allow the larger lens to form.
Using live view manually focus up on one or two of the droplets and snap away.
Camera was set using AV mode with a setting of between F18 and F22 used to allow some of the source image to be in focus.
Strobistinfo:
Main/Back: GN300AD-1/1-60x40 softbox
Back/High: DE600B-1/1-snoot into white reflector around the lens
Low(up) under bottle: LP120-1/4-85mm
This is my current imaging setup with the Star Adventurer and the ASI1600MM-Cool.
Still tuning it, but it should work well once I'll receive the rings and dovetail.
The guiding scope is an Orion 50mm mini guider and the camera an ASI120MM ST4.
The tripod is a Manfrotto 535, very sturdy and light, perfect for this setup.
My new setup for making macro-scale (~1:2) images of meteorite thin sections in cross-polarized (Xpolar) light.
This is much less expensive and easier to use than a petrographic microscope, which doesn't give you a complete view of the thin section in any case. So, for macro views this is a much better approach.
You can still find used Bowens Illumitrans slide copiers for under $100. For this purpose, all you need to work is the bellows, the camera adapter, an enlarging lens, and the substage strobe and focusing lamp.
You could do this with any light table (tracing box) as well.
The only addition is two linear polarizing camera filters (the two pictured here are Hoya filters in 67mm size, but any size over 48mm will work).
The method is simple:
1. You illuminate the section from below, by putting it on top of one of the polarizers.
2. Focus the camera (a film camera is standing in here for my DSLR, which was busy taking its picture) -- a viewfinder magnifier helps a lot here.
3. Place the second polarizer over the thin section, rotating the upper polarizer relative to the lower one until the field goes dark (only the section will be illuminated).
4. Flash the strobe to make the image. Depending on the magnification in the setup, the f-stop setting of the copier lens, and the darkness of the slide, multiple flashes may be needed.
Total cost of this setup is just under $120 (used pieces) not counting the camera, about 1/3rd the cost of an entry-level petrographic microscope. If you use a simple tracing box for illumination (which will require a time exposure on the camera), you can do it for about half that.
Note: Circular polarizers (the most common type used with cameras) don't work as well, because they don't completely cross-polarize. Be sure to specify PL, not CPL, filters if you go shopping.
A tip of the cap to the late Lawrence A. Chitwood for the method used here.
Some early results:
www.flickr.com/photos/chipdatajeffb/2704234942/