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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(Æ’/1.4G) | Æ’/1.4 | ISO 200 | 1/125s
Setup shot for 214/365 Journey of Motherhood.
View 10 other different photos of this shoot with Kristen on my Facebook page!
Camera Info:
Canon 7D, Sigma DC 17-70mm 1:2.8-4 Macro HSM @17mm, Æ’/5.0, 1/60s, ISO 100
Strobist Info:
-X2 Canon 430EXII camera left, both in 40" Westcott Softbox, both at 1/2 power and 24mm zoom, being held by Voice Activated Light Stand about 8 feet away and 8 feet high
-Flashes triggered using Interfit Strobies triggers
How do I get 2 flashes in a softbox, you ask...
www.flickr.com/photos/matthewcoughlin/5766940862/in/photo...
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.
Setup for the first try at this concept, yes I have more ideas to try :)
The key element is only just in view, which is a Pringles tube mounted on the cameras lens and can be seen at the base of the pic.
The rest is fairly simple too.
A piece of blue paper folded accordion like to create the background and provide the colour. The Pringles tube is just to help keep it upright, useful things, LOL.
Behind that a Yongnuo LED video light for the illumination.
The small 3inch high figure is stood on a plastic box to raise him to the right level.
Thats about all there is to it, quick and easy to set up for something a little different.
The result can be seen below.
I couldn't resist on snaping a detailed photo of this little setup.
I've always loved those Barbie bags from the Dream Store :)
<< *** EDIT Please note that I've since updated my rig and this post is now somewhat outdated. The new setup can be found here! *** EDIT >>
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This rig gives 1:1 reproduction ratio in a relatively compact, easy to handle package.
I find it very convenient to attach the flash bracket in the PN-11 tripod mount since that lets me add more extension tubes between the camera without increasing the distance between the subject and the flash. Also, the PN-11 tripod mount rotates which enables me to easily align the flash the way I want it.
Here are some shots taken with this setup.
These were all made with an additional 50mm extension added between the camera and the PN-11:
Further info in the notes!
Microscope lens setup. Effectively extension tubes and a extension tube to RMS cone adapter giving approx 160mm from focal plane to objective. A USB mini LED lamp fed from a rechargeable battery block (that goes in my pocket). The disc near then of the cone is actually a twin flash mount.
Parts. Sony A6000, Sony to EOS lens adapter, EOS to M42 adapter, M42 extension tubes, M42 to RMS cone, 4X 160mm microscope lens.
I already had these but obviously the adapters depend on the camera body in use but you need to get to M42 for the RMS adapter. The most common RMS adapter is a flat disc, if you use this you will need to use more M42 extension tubes.
The setup I'm using to "scan" or copy antique glass negatives.
Pentax K1 with 100mm f2.8 Pentax Macro
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!
2011.
Strobist, see setup image here.
Here is a run down of the gear used (even though you can see it all in the setup image I linked to above^):
Shoe was placed on a well-cleaned piece of picture frame glass purchased at Home Depot (for only $4.95!). Glass was elevated using gobo arms so that I could shoot from underneath (I am sick of using fishing line to suspend floating objects-- but this trick proved to have too many obstacles so the search continues...)
Profoto Acute2 packs and heads were used. One head through soft box directly over the shoe as key. A second head with a 5 degree gridspot was used as a rim, to camera-right and behind the shoe, with a scrim to cut the output by a stop. A third light with another 5 degree grid illuminated the seamless background to add some drama. Many images were taken and combined by focus stacking to achieve even, sharp focus over the whole shoe. This was my first attempt at focus stacking.
I guess that's it. The nebula photo I dropped in the background is courtesy of NASA, and is in the public domain, as I believe most of their images are.
The masking I used in retouching allows me to change the orange in the shoe to any color, and since the Mercurials come in green and purple (at least that I know of ) I may consider a diptych or triptych later.
this is my latest setup, it's not the best but it does ok. I may make some changes like a bigger dropper, just started using the smaller one a few weeks back. thanks for looking. sorry about the quality of the photo, but this actually was taken with my iPhone.
Thermal blankets = cheap fun! :-)
Details compare the textboxes in the shot ...
RESULT
www.flickr.com/photos/galllo/14245308703/
--
Tilo ~Gallo~ Gockel
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
Experimenting with a part digital, part practical background. It came out ok, there's some limitations with the size of the monitor (casting to a tv would be better but I'm yet to work that out. I can cast videos no problem but photos? Whoa that's a bit too advanced...)
There's a piece of shiny white cardboard used to bounce some light back onto the shadow areas (without that the shadows are very dark).
And the office building are just paper, they need to be made of cardboard as the paper warps too much. Plus ideally you want a rang of scales in the buildings so you have options for creating depth.
Setup shot for this image of Sylwia.
Lighting was a pair of Profoto Acute2 heads in a clamshell setup with a 5' octabox on top and a 24x32" softbox on the bottom. Check the notes for more details!