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Setup for the Pink orchid shot. For the final shot I've put a black glass below the orchid, the rest did not change.
The full hardware controller for flying insects. The internal basis is an Altera FPGA chip (hardware, no software) this chip can be hardware programmed with the functions need to drive the hole unit as lasers, highpower magnet for the compur1 shutter, red cros lasers for the detection of the flying insects, all the flashes(max8) camera control, green laser pinters for the framing, high power drivers for UV leds and withe leds to work into the dark for moths at night.
How to take insects in flight see:
this is my setup... where i do everything. write, design stuff, listen to music, watch TV, game (ok, alot) and plot world domination
Strobist Boot Camp 2008
Headshot Assignment - Setup shot
Camera:
Nikon D300 - 17-55 f2.8
1/250, f5
(2) Nikon SB-800 (fired via CLS)
- Main light from camera right with shoot-through umbrella @ 1/4 power
- Background light from ground behind model (pointing up) zoom head set to 70mm @ 1/32 power.
White reflector on camera left.
Macro test setups.
Test object : KC73129MP
Number of Effective Pixels: 500(H) ´ 582(V)
Unit Pixel Size: 9.80um(H) ´ 6.30um(V)
This is a CCD with fine structure as a test object. The structure is uniform, perfectly straight and the dimensions are fixed. The macro magnification can be measured easily.
The 100% crops are always 600x400 pixels. Since a sensor pixel less than 10 um the resolution of the image can be properly checked.
I use a new tube-lens, the AF-S Nikkor 70-200mm 1:4G ED.
The advantage with this lens is the possibility to change the focalt length. This also changes the macro ratio. The ideal value is 200mm and this lens performs excellently. At other focalt values the quality remains very good but there are problems with the lighting in the corners. You'll practically limited to about 150mm. At 135mm you will have to adjust the angles sure if your image is in that zone. Smaller than 135mm is no longer usable, you lose too much by the dark corners. Successive images show these results.
The left part shows a 100% crop, the right image shows the entire picture. Focalt lenght and lens type are always marked.
Mitutoyo M Plan APO 10X lens is the real winner. That may be for its price. Again, you can not go too low with the focalt value The AIS35mm 2.8 reverse lens performs clearly worse. In contrast, the lens AF50mm doing a lot better. Macro AF60mm when reverse is very limited in length focalt but it does well with 200mm.
This is the result of one shot, there is no stacking used in these tests. Because the sensor is very flat so it can be done.
Setup/Lightsetup - Model-View
Result here: www.flickr.com/photos/thephotolife/4473947376/
Nikon D300
AF-S Micro NIKKOR 105 mm 1:2,8G VR
Profoto ComPact 600r Octobox
Elinchrom Ranger Quadra with Sunlight Reflector
Nikon SB-900 with white Lastolite Umbrella
triggerd with Pocket Wizard Plus II
Mehr Informationen findet Ihr auf meinem Blog (More information on my Blog): thomasseidl.wordpress.com
(C) Thomas Seidl
Not done a setup shot for a while, so thought it time to change that.
It also shows my homemade difussion panels from a better angle than normal, so worth posting for that.
These difussion screens are one of the most useful things for tabletop work that I have made so far. They are very simple, just a cardboard tray that originally had tins of food in. In the base, a rectangular window was cut, just a little smaller than an A4 sheet of paper. Then a clear plastic document wallet is taped over the opening, into which sheets of paper can be put for different effects. Most of the time I use tracing paper or white printer paper just to soften the light from the small flashes.
Sat on top of the right screen, can be seen a Yongnuo SYD-0808 LED video light, which I use to illuminate the area for focussing etc. It's not bright enough to have any impact on the photo when using flash.
White backdrop is a sheet of white fun foam, wonderful stuff.
Almost out of shot at the top, is a Yongnuo YN460 fitted with a white card reflector to bounce the light off, to give the top lighting and to give the clean white background, though it doesnt look like it here :)
Resulting photo : www.flickr.com/photos/steveblackdog/4973858790/
Setup shot for 060/365 The Sun Will Shine.
Camera Info:
Canon 7D, Sigma DC 17-70mm 1:2.8-4 Macro HSM @17mm, f/18, 1/200s, ISO 100
Strobist Info:
-2 Canon 430EXII's inside 40 inch softbox Camera right and in front of subject, both full Power, @24mm zoom, about 7 feet high, 3 feet away from subject.
-Sun shining behind subject @ full power.
-Flash was triggered with Interfit Strobies. Sun was triggered by the powers that be.
Forgive the lack of quality in this shot. The Kodak DC240 was actually a good camera when I bought it for my second eldest daughter a few years back. (Yeah, kids had a digital before I did!) Few dints, knocks, scrapes, flash not working, buttons missing from the back - but it still takes pictures. Rescued it from the bin after she threw it out!!!!!
Anyway, just to show the setup I used for the Lupin shot.
If I was going to do this again, I think I would place the flash lower and direct the light up more. This would have given a cool shadow on the headboard/wall and ceiling. I also forgot my shutter speed at 1/90 sec because I was doing some stuff before (and I wanted some ambient light effect), however, the flash was very effective in freezing motion.
Resulting pic here.
Strobist:
1 - SB-80DX camera left (1/8 power?)
Triggered by on camera flash (1/128 power)
I have been researching flash triggers and had settled on Pocket Wizards when I saw an article on radiopoppers. Now I'm not sure what to buy. To make a long story longer, I rarely use my Nikon CLS system (because my DX80 strobe can't) and I tend to be a "manual" mode guy when it comes to using a flash -- I like my flash to do what I tell it to do. Anyway over at radiopopper they are talking about TTL and iTLL and all I hear is bla, bla, bla, so I figured I should do some research. Anyway, I found this great blog... Nikon CLS Practical Guide by Russell MacDonald. I started with "Nikon Flash - Two Separate Metering Systems". You might like to check it out.
This is the setup I made for making panoramas without buying anything specific for the purpose. The goal is to have the axis of rotation pass through the entrance pupil (en.wikipedia.org/wiki/Entrance_pupil) to avoid a parallax change between images when the camera is rotated. Many photographers incorrectly call it "the nodal point", as if there is only one, but neither nodal point will do for this purpose.
I used the EOS M camera and EF-M 22mm lens because they are both small so the entrance pupil isn't far from the camera's mount. The pupil seems to be roughly aligned with the camera facing edge of the lens's focus ring grip when focused at two to three meters away (according to Magic Lantern; any farther away is reported as infinity). The lens focuses by moving all the optics together, so changing the focus distance will move the entrance pupil. However, the focus grip will not move with the optics.
For this to work without a tripod head made for panoramas, the top of the tripod must be level. I used a Manfrotto 190CX4PRO that I got when it was selling for less than the equivalent aluminum model. It seems that they now sell a newer revision of the product using the same name, but the difference may just be cosmetic. The built in level bubble seems to work well.
I used a FLM 43FTR ballhead. The most important feature it has for this setup is common: the ability to hold the spherical joint in place while allowing the base to rotate. It also can allow base rotation in 15 degree increments, but at the marked 0 degree position it freely rotates about 10 degrees. That doesn't seem like a good decision, but the ballhead is wonderful otherwise.
The two axis level bubble on top is needed to level the camera, and seems to work well. I'm told some levels are poorly made, but by chance I haven't bought one yet. The camera doesn't have an electronic level, but those also have their limits. The one on Canon's 70D is supposed to be accurate to within one degree, whic
L'altre dia em va petar un flash o sigui que toca usar una il·luminació més senzilla que de costum.
I can't believe I never thought to put the light behind the paper and aim it over top of the seamless --- Duh!
Resulting pics here (my fav) and here.
Lots of great learning here. At first I was using a light disk to bounce the light up into her face --- we quickly learned that flexing and shaping it had a dramatic effect on the light. You can definitely curve it to magnify the bounced light.
Then we switched to a 50x66cm white foam core card for a bounce. It is fairly shinny and gave a very controlled, square, bounce that was repeatable (flexing the disk was a bit random).
The resulting shot(s) were made with the foam core bounce card.
Strobist:
1 - Elinchrome Style 600S with 20 degree grid behind and above model. Bounce card under her chin. There is a softbox above her as well but I was using it's white front panel as a bounce only.
White seamless paper backdrop.
Use this to share your lighting setup or to document your setup for future reference. Email me at kevin@kertzdesign for comments and/or suggestions. Not for commercial use.
OK, this is my setup... Poor you might think... Well makes me think a lot on what to do to try to keep up with the newbie strobist out there firing Vivitars, Nikons and Canon...
I´ll get there in a couple of months, hopefully.
James' 1D, my 50 1.4..
2 580EXIIs on the left and right, 1 580EX behind shooting into the viewfinder, Vivitar 285HV behind providing some background light..
Canon flashes triggered via ST-E2, 285HV triggered via e-bay triggers..
Overview of the portable unit for flying insects photography, right side.
How to take insects in flight see:
Write up can be found here: www.stuartgleave.com/blog/?p=376
Used to take the photos and the high speed video: www.vimeo.com/7664697
A gorilla pod with the high speed Casio HC100 wrapped around the barrell of the rented 50-500mm sigma lens: www.lensesforhire.co.uk/sigman-apo-50-500mm-f4-63-ex-dg-h...
All on top of a £30 tripod. Simples.
Setup shot for this shot: flickr.com/photos/dangottesman/2850492134
Roll over the notes for additional details.
4 SB's:
directly above, with a gridded softbox - this made the upper highlight, seen on the center seam of the shell
camera right with a straight softbox - this made the big obvious highlight in the middle of the shell
camera left, high, with a small softbox - this helped diffuse some of the shadows, and also made a nice gradient on the back wall (white) for the background
camera right, with a long snoot -
this back-lit the batter head (which is actually pretty beat-up), and really makes the head just pop
I'm not totally in love with the way the shadows fall on the foam core, but I think they're tolerable for now.
If i were to do it again, I might start with a big umbrella directly above, and then 2 soft boxed lights on either side to counter any hard shadows.
(not 100% sure about the power settings, as I did a lot of playing around)
Two light setup with a shocking pink background.
The candle is sat on a sheet of glass with the underside painted white, which I had hoped would pick up the colour from the background. Only partially successful, black might have worked better for this.
The lights are both compact CFL's.
One located below the shelf, a 20watt stick version mounted in a Pringles tube reflector, aimed at the horizon created by the sheet of glass.
The second which is easily seen, is in the Pringles tube snoot directly above, fitted with an 11watt spiral, mounted on a small tripod with the aid of a couple of spring clamps.
Not completely happy with the result, but as an experiment in lighting, the result is reasonably acceptable, see below.
This is a setup shot I took while making the other images from this set. There are notes on the image.
Very hastily put together shot today, so nothing very different with the setup.
The subject placed on a sheet of glass painted black on the underside.
Black background approx 12inches/300mm behind.
A pair of 20W CFL lamps placed to the sides in modified Pringles tube reflectors.
Between the lights and subject, a pair of screens containing tracing paper to soften the light.
Finally a couple of black cards placed behind the lights, to prevent stray light from hitting the background.
Job done and click ;-)