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BlackBerry splash in cream
Lens use; 70-200mm F2.8 IS ( this lens is so sharp, my favorite )
this is a fun shoot but the mess after......
Strobist; 2x 580ex each side at 1/64 snoot
See the setup here;( similar ) www.flickr.com/photos/eldano/3229535666/
www.flickr.com/photos/eldano/3233300957/
www.flickr.com/photos/eldano/3236763364/
Another shoot of the same setup; www.flickr.com/photos/eldano/3229422970/, www.flickr.com/photos/eldano/3231663258/
Another setup of other splash; www.flickr.com/photos/eldano/2947731588/
www.flickr.com/photos/eldano/3240561205/
Explore 180
Setup from a shoot I did awhile back.
Nikon D90, Sigma 18-50 F/2.8 - f/6.3 at 1/100 sec
1X AB800, Socked right
1X AB800 with trace paper over the standard reflector, left
Both AB's at 1/2 to 3/4 power
AB's powered with the Vagabond Mini
One SB-900 to the back, slide out diffuser.
Triggered with Ebay Triggers
Manual Focus & Focal Plane
Start off by placing the subject in the destination position and manual focus on it. This would establish the plane of focus and you could drop the subject anywhere along this plane during the actual shoot. Once this has been done, there would be no need for any further focusing unless there are adjustments to the camera position or zooming.
In my case, I've used the center of the fish tank as my focal plane so that it is easier to target a drop.
Shutter & Flash Sync Speed
The shutter speed was set to 1/320 to coincide with the flash sync speed set for my camera. This was when the final flash would go off, right before the shutter closes, capturing all the action and splash.
Flash and Rear Curtain Sync
The flash would need to go off right at the end of the exposure just before the shutter snaps shut..
Cable Release
A cable release or a remote would be useful so that you can be right beside the water tank, drop the subject and trigger the camera all at the same time.
Unable to take this photo outside due to the series of snow storms we've had here on the East coast, I decided to make it snow on my own kitchen table.
From the beginning I wanted something simple yet dramatic, so a brick wall seemed like a good choice.
The wall itself is constructed of 1/2 inch thick
foamcore with a sheet of vacuum formed plastic bricks taped to it. The sheet was sprayed with various colors then accented with random hand painted bricks.
As for the buildings, they are old standbys from my model collection, with one of them elevated by being set on a book to give the impression it is taller than the other one.
Not knowing what was going to show up in the final photo, I decided to make sure there were "apartment" details showing through the windows.
The "snow" of course is the ever faithful baking soda [ with some dirt mixed in it ] sifted over a slightly damp model base. This moisture allows the baking soda to clump up when I make several passes with a diecast car to create authentic looking tire tracks.
And one last item; it was important for the look of the photo to have just one source of strong light, to give the impression of a street lamp. The trusty 60 watt bulb did the trick nicely.
Here is the completed shot with the position of the cars reversed. [ it just looked better with the woodie in front ]
www.flickr.com/photos/24796741@N05/8479083792/in/photostr...
I figured for today, rather than writing all the detailed strobist info in a giant paragraph, instead I would just illustrate the entire setup.
camera info: Nikon D700 | 50mm(ƒ/1.4G) | ƒ/1.4 | ISO 200 | 1/125s
My second variant of BrickTracks' NPRR #1225 engine.
In this version I mainly changed the wheel arrangement from a 4-6-0 to a 2-8-0 and inverted the color scheme. Under the hood I swapped the PF L motor out for the PuP L motor, which was a minor inconvenience due to its increased length. I still have to play around with the setup for the pilot axle in real bricks, but it *should* have enough room to navigate R104 track.
I think I'll number this engine 1226.
Setup shot. In case you're wondering, my 'photo studio' right is just the top of a gloss white set of draws against a white wall. I was surprised how well it worked especially as the gloss finish can give me a little floor reflection sometimes which looks nice.
This is the setup used for the experiment in part 1. The camera is a Canon Rebel XT with a mind-bogglingly powerful 8 megapixel sensor, the ruler is a Westcott Stainless Steel, ideal for measuring or sword-fighting, and the mug is an Uwajimaya classic demonstrating my love 4 pandas.
setup for previous pic.
May have return my new Elinchrom D Lite 2 on the right, can't keep up with RX600 strobe. Added Quadra in foreground b/c her false eyelashes were so big and blocking light from above!
For those of you asking about my frozen bubble setup, this is a video I compiled from my last photo session. The video is a bit jumpy because I took it from my phone on a selfie stick, sorry. It's interesting to see how fast the ice features form and the short life span of a frozen bubble.
My current macro setup.
The winner of my macro performance test, a reversely mounted Zeiss 58/2 taped on a M42 extension tube with an M42-Nikon adapter 49>52mm step-up and reverse-adapter. Despite its age, this lens really produces quality images with a beautiful bokeh and still performes well if stopped down to F11-F16. (Read some interesting details about this lens with a quality compoarison to a Nikkor lens from 2006 here).
The focus lies currently on the box on the right, approximately 85mm in front of the lens. Focus of the lens is at minimum, this doesn't make much difference for the distance, but moves the backlens in the hull and thus creates a lens-hood.
The 12mm extension ring, formerly used as part of a cable connection for a reversely mounted lens, now contains a Dandelion chip. It allows for auto-exposure and - more important - TTL-flash. This also gives me full control over my external flash with limited manual options.
With a 12mm tube this setup results in a 1:1.2 macro lens (29mm on a 23.9mm chip). With additional 20mm tubes it is 1.14:1 (21mm) and with the additional third 36mm tube 1.7:1 (14mm).
But more handy than an external flash is the milkbox flash diffuser which guides the light of the oncamera flash to where it is required. The front diffuser can be folded and put into the rearmost part. The right piece, currently beside the camera, is used as a telescope and contains a 3W cree LED which can be used during focussing (didn't use it lately). For transportation, the whole diffuser is not much larger than what's over the lens.
Accidentially also on this picture is the mod of my Phottix battery grip: Instead of connecting the strap to the tripod thread, I installed a loop. This way the body is smaller and even.
See the comments for example shots, thanks for looking!
Lighting setup for Tim Christensen solo concert at Klaverfabrikken.
Lighting design by Peter Schøning (on stage).
K/DA Evelynn, League of Legends
Photographer: A.Z.Production Cosplay Photography (www.facebook.com/azproductioncosp)
Cosplayer: Fae La Blanche (www.facebook.com/Fae.La.Blanche.Cosplay/);
Assistants: Lazy silly bear (www.facebook.com/Lazysillybear/); Sayuri (www.facebook.com/Cosplay.Sayuri/)
Setup: Main: Godox AD360 with Phottix Para-Pro 1.5m; Edge Godox AD200 with 1/2 CTO gel
This is a setup shot from a photoshoot with Sarah, a very talented and beautifull model.
After about one hour in my small home studio, Sarah, assistant Ake and I went out for some location shooting on an abandoned highway. We found a nice natural light pattern under a bridge. We first tried with just the available light but there was allways a part of Sarah's face in the shadow. So I brought in an SB24 (1/4 to 1/8 I think) with a translucent umbrella on a Nano stand. The available light comming from above still created an unwanted pattern on Sarah, so Ake blocked that light with a reflector. By underexposing the background, the pattern got some more contrast.
Triggered with PW's.
Learn how to light at strobist.blogspot.com/2006/02/welcome-to-strobist.html