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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)
Pure daylight setup for the Espressi shot. Cloudy sky, corrected a bit towards sunlight via white balance.
New setup with my PowerMac G4 Cube and 17" LCD Studio Display.
Cube specs: G4 450MHz, 1GB RAM, 160GB HDD, Combo drive, GeForce 2mx, Airport Card.
Also: 3rd Gen iPod (20GB), Apple Pro Speakers, White Apple Keyboard, Cheap wireless optical mouse, 200GB FW HDD, Logitexh X-230, Panasonic VS6, Newton's Cradle, Nodding Dog.
Yaesu FT-897d transceiver with a Yaesu MD-100 microphone, LDG YT-100 auto-tuner.
JRC NRD 525 receiver.
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.
Here we have cereal boxes, cheap battery-operated lights, and small LEDs mounted on raisin boxes with aluminum foil cones. In other words, a typical setup for me.
One unusual thing is that I placed a textured florescent light cover in front of the blue background to give it a different look.
I was pleased with the results on this one.
Panoramic sot of the empty hall at the Oregon Convention Center. You can see tables being setup near the large open door at the back of the hall.
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
It starts underground on bottom 1/2 of frame, tilts back and will pop over the top to show a river on the other side.
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/
The setup shot for Cactus and (without the white fill card but with a cardboard snoot on the flash) Cactus Bud. The fill card is an offcut of white foamboard, propped on bulldog clips.
This is my setup as of today. I think it needs something in the blank space though, but what? tell me in the comment-field.
Setup for 1 Miller Lite and 3 Miller Lites.
Strobist: An SB800 to the left with a shoot through umbrella. A second SB800 to the right bounced off the ceiling. Fired with pocket wizards. The bottle is inside a tent of white nylon.
Setup shot for the Gossip Girl cover, notes should explain all, and there's a reverse view here.
Blog: www.photosmudger.com/