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This is the setup for the "Into The Heart Of The Rose" image I posted earlier.
I put a Yongnuo RF-603N trigger on my D90 and a YN560-II that I pointed at the ceiling to create the setup shot. When I took this picture it triggered the flash in the softbox. Down below in comments you can see the picture that this setup created.
People seem to find these setup shots helpful, and I have an album of them if you'd like to check them out.
Setup shot for the portraits of Mike Causer, notes should explain everything.
Blog: www.photosmudger.com
Twitter: @photosmudger
Setup for the splash shots:
- A little fish tank in the middle (I got that cheap from Amazon)
- two flashes on the right and left side, shooting through paper pieces as diffusors
- two flashes placed in my bathtub shooting from underneath through the translum foil
- translum foil formed as some sort of transparent seamless background under the tank
Three flashes from Yongnuo, one Canon 430, all four RF triggered via Yongnuo RF triggers.
Camera on tripod with cable remote, adjustments cmp. EXIF.
Btw.: No light barrier involved, obviously this also works manually with some patience. :-)
Updated my work office setup. It was my two year anniversary so my boss got me a new computer . I used to have a 24" iMac with an external monitor and Dell Vostro 420 that I had connected to the iMac with Synergy. Now I run everything in virtual machines on the Mac Pro, it is much faster and more efficient than using separate machines.
What do I do? I develop web applications for use internally, manage my company's (not my, just work for them) ERP, and manage every piece of tech and software involved in all of our operations.
Dual 2.26 Quad Core Zeon Nehalem Mac Pro w/ 12GB RAM & 2.78TB Hard Drive Space
3 24" Dell G2410 Monitors (1920x1080 times 3)
Bose Companion 2 Speakers
Logitech Quickcam Pro
Not pictured: 15" Unibody Macbook Pro and Bose Quiet Comfort 3 headphones.
The monitors work very well for me, however I can tell the color is off and can't quite get it right so it wouldn't work for someone in print design or photography. For me though, they work great!!
Light setup for this image: www.flickr.com/photos/terytky/3057445743/
Photo by: Seppo Hinkula
This is the setup I used to take my smoke photos. It consists of a Canon Digital Rebel with a 18-200mm Sigma lens connected to my laptop running Canon's remote-shooting software. I triggered the shutter using a remote switch. The background is a yard of black velvet. I attached two "gobos" (pieces of cardboard) to my off-camera strobe (flash) using velcro. The gobos prevented light from the strobe from flaring into the lense or onto the background.
Here's what I do in post:
* I use a black brush to to insure the areas outside of the smoke are completely black (that's about all the burning I do).
* I use the healing tool to remove any distracting specs of dust within the smoke.
* I either apply color to the smoke (using a gradient layer for example), or color shift and saturate the existing colors. For example, I used the "color shift and saturate" technique in this image. I tend to prefer working with the existing tones over mapping colors onto the smoke. I think the resulting colors are more subtle and tend to blend in a more natural way.
* Sometimes I sharpen the image (add local contrast) a small amount using an unsharp mask, but sharping, and color saturation for that matter, increases the image's noise. Smoke images already look noisy because they're images of small particles of smoke, so you've got to go easy on the image manipulation. Sometimes blurring the smoke is actually the right choice.
* Sometimes I'll also play with the image's color curves.
mijn huidige setup, ga met je muis over de foto voor omschrijvingen.
Update: zie ook de setup uit 2006 :D
This is the setup shot for the previous picture in my Flickr photostream.
I've now included enough setup shots that I decided to create of Set of them, which you can see here if you find the pictures helpful. www.flickr.com/photos/9422878@N08/sets/72157642517882554/
Late night yesterday, so a later start for the studio shoot today — smart move.
Great session with Alina: we tested multiple light setups, and even squeezed in a short outdoor shoot in the freezing weather.
Model: Alina
2015 setup. MacBook Pro Retina 13" - Apple ThunderBolt DIsplay 27" - iPad Air 2 16GB - Picture taken on iPhone 6S Plus processed in Photos App.
Our 'no-fuss' lighting setup for bride-groom 'formals'. We meter for ~1 stop under ambient (for mood), and then bring the flash power down to something that looks good. We'll usually gobo the back flash or move it off-axis enough so that it won't flare. We feather the main light across the front of the subjects, and voila!
In this case, we were shooting at Stonebridge Manor, a Wedding/Reception venue in Mesa, AZ - one of the nicer venues in the Phoenix area that isn't associated with a swanky resort. The late afternoon sun was just about to disappear, so we worked quickly. This is a 2 minute setup that yields far better results than taking the easy way out and shooting with on-camera lighting or hoping for the best with available light.
We used 2 Vivitar 283's on stands. The main light was at 1/8 power into an umbrella, camera right, and the other was at 1/16 power, bare, camera left. We have Varipower VP-1's on the Vivtars to dial down the light. Flashes were triggered with Cybersyncs. You can also just make out our self-built batteries (just some 6v SLA batteries wired to some fake battery 'slugs' in the 283's battery compartment) used to provide quick recycle times.
For more wedding strobist stuff, check out our blog.
Lighting setup & settings info: CLICK HERE! to see the full article!
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Strobist info:
Bare Canon 580EXII in a 80x60 Softbox - Camera right
Nikon SB-26 with a CTO filter (I think it was a 1/2 cto) behind her
Canon flash is triggered by a Pocket Wizard II Plus, and the Nikon flash behind her is triggered by optical slave from the Canon flash
Golden Hour
Lighting here was made of 2 strobes, one as a main light for the model, and the other to add some sunset mood with some orange tones! So as the main light, I was using a Canon 580EXII in a 80x60 Softbox, which I'm using on location quite often! Also behind her I decided to put some orange filtered flash, as the sunset did not bring any rays of light to the place where we were! I wanted to have some orange tones in her here, so that was the way to do it! As a flash I was using a Nikon SB-26, pretty handy with the Optical slave feature, considering that I had only a pair of Pocket Wizards available at that time! Lighting setup & settings info: CLICK HERE! to see the full article!
Final high-speed setup, Olympus E-PL3 replaced by the Nikon D300 camera.
Why this replacement:
Better pictures, less noise.
ISO low to 100 better for longer camera capture time with internal shutter open.
Better acces to the memory card and the battery for exchanging.
Specs:
Nikon D300 camera in manual mode.
DIY adaptor to mount the Nikor AF105/2.8D macro lens.
Nikkor AF105/2.8D macro lens.
A DIY external shutter housing has the super fast Uniblitz VS14s shutter.
The shutter-lag is only 3.5ms, the opening time is 4.5 ms or 1/220 sec.
A DIY HT module control the 65V to the external shutter. The high power current for the external shutter is supplied by a flash capacitor 740 uF/330V.
Detector depth accuracy: 0.25mm at 310mm from object to front macro lens, frame = 60mm.
The 2 flashes are SB-80-DX types (or SB800). They works in TTL mode and are controlled via my hardware modules. Via the keyboard all settings can be changed and stored into a flash eeprom. So the flashes are all controlled from the controller and no more individual on the flashes itself.
The hardware core is a FPGA module from terasic, the DE0-nano. Very powerfull and small. All high-speed timings are controlled from this board. More then 81 I/O pins are used.
All modules in this unit can be reprogrammed via an USB connection.
For high-speed in-flight insects capture I use a laser system to know when an insects come in focus. This laser system is very accurate and quickly. In just 50 us I know when an insects stay infocus. Thereafter the high-speed external shutter is activated into 3.5 ms to take a picture. Even super fast flying insects at macro closeup stay in the picture frame with this ultra short detecton delay and shutter-lag.
The detector has a 128 pixel line array to readout the laserbeam. A distance change of only 0.25 mm can be seen by the line array. Each pixel has an 8 bit value. The value, the position and the noise can be set into the parameters for optimal picture capture. Even super small insects of 0.5mm can be detected at 500 mm from the macro lens and this into the super short time of only 50 us (1/20.000 sec)
I use a power-pack module to powerup all the hardware. The racing pack module gives 7.5V @ 4200 mA. Multiple DC/DC convertors converts this to the correct voltage with high efficience. More then 10 hours autonomy is provided.
List of frame versus distance (object to frontside macro lens):
Free Distance ...... Frame
410 mm ............... 80 mm
360 mm ............... 70 mm
310 mm ............... 60 mm . . . Detector depth accuracy 0.25mm
280 mm ............... 50 mm
235 mm ............... 45 mm
215 mm ............... 40 mm
190 mm ............... 35 mm
165 mm ............... 30 mm
147 mm ............... 25 mm
125 mm ............... 20 mm
112 mm ............... 17 mm
Extra added the ringflash Nikon SB29s. The flash is also drived via TTL mode to setup the correct power. I've connected this extra flash parallel to the flash2 SB-80-DX flash with the same power control due to the limited outputs of the central controller. If need is can also set this SB29s flash manual into 1/4 power or 1/32 power. I use 2 diodes in series to connect the flashes parallel. This works perfect. I've added this ringflash due the high flash power needed to works in full sunlight and much better light distribution in closeups.
Functioning of the optical detector.
The detector gives a signal when an object arrives at the correct focus area. The beam of a green laser pointer is reflected by the moving object (insect) and is received on a 128 pixel line array detector. According to the distance of the object the laserbeam give a signal on a group pixels on the linearray between 1 and 128. One pixel position corresponds to 0.25 mm distance change in depht. Setting a detector range on the controller can change the focus zone and the focus distance. Ambient light is calculated over the full 128 pixel line array during a scan, the detector signal show a peak value when the object is in the focus range. The normal working distance from the front side of the macro lens to the object in focus change with the macro lens ratio. The normal range with the external fast shutter system is from 112mm to 410mm. The integration time to measure the light vary from 50us to any desired value, practical limited to 850 us. The most use scan time is 50 us at daytime.
This detector work very fast, only 50 us or 20.000 samples/sec. A digital filter algorithme can be added to avoid unwanted triggers. This digital filter can be set from 1 to 8 samples before a valid trigger is assigned. This is especially important during the day when there is plenty of sunshine. Once the detector signal validated the external super-fast shutter is activated. This take only 3.5ms to full open time.
Optical detector versus cross-beam interruption:
Cross-beam interruption work also very accurate but there is a limiet on the acces to the insects. No other objects may interrupt the beam and the position of the laser-detectors are in front of the insects. Shy insects are less likely to fly here between and there are a lot of limits from unwanted objects between laser and object. My optical detector can even look inside a hole to capture the insects. The full distance between front of the lens and the insects is free with the optical detector. So I can record many more species.
Another advantage with the optical line array is the dynamic focus control without adjusting again the macro lens. Just change the "FOCUS" value ( normal set at 64, the centre of the 128 pixel array) to set the detector point further or closer. The "DOF" value set the detector tolerance (depht) and the "NOISE" parameter set the sensivity, or signal above the ambient value valid for detection. At night to detect super small insects I can increase the integration time given a super boost for the sensivity to detect black and small in-flight insects. Insects of 0.5mm body are suitable for detection.
Total weight unit : 6.6 kg inclusief all batteries.
Hey guys, here's and update on life. Man, I was so freaked out, I said, "Comfuture."
Also, if I didn't say your name, don't be offended. I was obviously talking on a stream of consciousness.
Oh, and for some reason it sounds like I said Amty Sandbox, sorry about that Jack...
iPhone photo of setup for beauty shot.
Resulting image (below): www.flickr.com/photos/martinwilmsen/18189536463
44cm white beauty dish with silver deflector above camera. Silver reflector underneath model's face. Stripboxes left and right rear for rim (one with a lighttools grid on it). Small spot with grid on the backdrop. Black fabric panels on either side of the model.
A pullback from today's product shoot. To test this set up I took a photo of my trusty SB-24. Even though I'm a Canon guy, I use Nikon strobes when I'm using radio remotes.
Strobist: SB-26s on umbrellas lighting the background. SB-28 on top through diffuser.
View the test photo below.
Strobist setup
- 430 EXII @ 1/16 24mm through Westcott Micro Apollo with orange gel cam left
- 430 EXII @ 1/8 24mm with blue gel
- 580 EXII @ 1/4 24mm through 28" Westcott Apollo Softbox
- EOS 5D MKII @ 1/15 ISO 400
- EF 70-200 2.8 L IS @ 150mm f/2.8
- triggered with Phottix Tetra
I thought I would write some notes on my setup for my recent space photos. Most LEGO pictures deliberately present the subject as a model, with a neutral background and diffuse light. I've tried to get a more Star Treky effect as if it's really in space with exotic lighting. I've also shot it so you can't see the stand, as if it's floating.
I've used a green backing so I can easily remove the ship from the background. This isn't a massive factor, because it's relatively easy to cut out the ship by hand in a still image; but it saved me a bit of time so...
The photos are taken with a very small aperture, so the depth of field is maximised. I then use a very low ISO to minimise grain. This in turn requires a very long exposure, like 5 seconds, or else the picture is crazy dark. However that's not a problem of course because it's a still life - it doesn't move! I do underexpose a bit to prevent the white burning in and crushing all the highlights. I can easily brighten it in Photoshop.
A.Camera. I've got it wired directly to my laptop so I can download the pictures immediately and check they've worked on a big screen before moving on.
B.Key light. This is the "warm" yellow light coming from the left in the pictures. It's an IKEA anglepoise lamp with a high intensity fluorescent bulb. There's a straw coloured gel over it to make it "warmer".
C.Fill light. This is another IKEA light with a bright bulb. It's got a blue gel over it and a bunch of gauze (actually net curtain material) held in front to soften it.
D.Kicker. This light throws a bright blue light from left to pick out detail. This is an LED worklight which throws a very bright white light. It's got a blue gel over it.
E.Greenscreen. This is some bright green wrapping paper taped to the wall. Because it's going to be keyed out it doesn't matter too much how smooth or good it looks. There's another light X aimed at it to light it. Note also the model is quite far away from it so green "spill" light doesn't reflect back on the model.
F.The model. It's internally lit with LEDs which are surprisingly bright (as you can see here).
G.The window is blocked up so all the light in the room comes from artificial sources so it's completely controllable.
As you can see my setup is very rudimentary and pretty much everything is improvised. My digital camera is second-hand and about 10 years old. If folks are interested I will do another post with details of the processes I use in PhotoShop to create the final images.
Setup from a recent studio macro session with a sunflower. I used a single strobe light setup for these shots as seen above.
Einstein 640 w/ 22" Beauty Dish above and left
Triggered w/ CyberSync
Simple setup for the Unit 3.1 exercise in Strobist's Lighting102
Montaje sencillo para el ejercicio de la unidad 3.1 del Lighting102