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Here you see the fabric exposed for the photo shoot. When I am done with this setup I just roll the paper down.
I am 5.11, so no problem for me:)
<< *** EDIT Please note that I've since updated my rig and this post is now somewhat outdated.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!
Time to talk a little bit about the new camera setup I'm using for this project. As you probably already know, I have a superb Zeiss & Sony based camera system in my use for this project and one goal of this project is to share my experiences with you regarding this setup (read more about it here). Now, I'll be the first one to say that I'm sincerely grateful to have this opportunity because it's much more that I could really afford 'in real life'. Actually it might be even a bit more, since in the back of my mind I like to think that this is really a once-in-a-lifetime setup and something I will surely remember even at the older days – one of those rare cherries that life has decided to toss me with all the other junk it throws at me, hah! So, I'm naturally very happy about it.
But it wasn't always like this. Like anyone who is starting with photography, I too had to put up with a very modest kit at the start. Years ago I only had a Sony Nex-5N with a kit lens, the original SEL1855 (3.5-5.6/18-55). As the kit lens was way too slow for indoor photography and I also wanted to have that shallow depth of field in my photographs, I counted my pennies very seriously and got myself the SEL50F18 (50/1.8). And that was it – I had two lenses for everything. From the image quality's point of view the SEL50F18 was a great lens that I used a lot. Equipped with the optical image stabilizer it was perfect for low light photography and I loved taking it out on streets at night. However, in small spaces and indoors it was a bit bulky and I had to resort for the kit lens which had convenient focal range, but was kind of 'meh' when it came to optical quality. In short, I was living within compromises, and of course, dreamed about a better setup like anyone who is just starting out with photography.
About year ago I was lucky and had an opportunity to switch my Sony Nex-5N to Sony Alpha 7, which had a full frame sensor and was much more 'a serious camera' than the Nex-5N. At the start I thought I could afford to upgrade my APS-C lenses to native FE-lenses pretty soon, but unfortunately I was wrong and had to make it with the Touit 2.8/12 and the Touit 2.8/50M. While these were very fine lenses, they had quite a gap between them in terms of focal length and they didn't utilize the whole image circle of the full frame sensor. Even if I absolutely preferred the ergonomics of the Sony A7, I was left with the camera setup that wasn't so much better than what I had with the Sony Nex-5N. To be truthful, it was actually worse, since the focal lengths that I had didn't mix so well with many of the real life situations that I encountered. So even if I had a better camera, I was still dreaming to be unchained from the limitations of my setup.
Then fast forward to year 2016 and the rest of the story you already know. This project has enabled me, with the kind help of my supporters, to use the camera setup that will finally set me free from the earlier limitations. I have access to full frame camera system that offers fast lenses in many essential focal ranges (18mm, 25mm, 35mm, 50mm, 85mm plus 75mm macro). So how does it suddenly feel to be freed from the compromises and to have that setup that I could only dream about some years ago? To be truthful, it feels kind of overwhelming. While I used years to explore the Sony Nex-5N with the SEL50F18 almost permanently attached to it and learned my system from the inside-out, I'm now facing several different kind of lenses which are still strangers to me – I don't know them in the context of my own photography and I haven't yet learn put their own unique characteristics in practice. In other words, there's a lot to learn before I can truly say that this is my setup.
For what it matters, the Nex-5N, even with inferior technical abilities and some irritating details, has been the most successful camera for me to this day. As anyone knows, it takes many successful photography experiences to really start loving your setup – and these successful experiences are really 'the thing' I'm looking for in the year 2016. I look forward to overthrown the Nex-5N.
Days of Zeiss: www.daysofzeiss.com
The new setup with 2 flashes. Read the notes!
See no trigger or anything!
Further info on drippy2009.blogspot.com
Update:
Now updated with a 430EX II Flash & Vivitar 283 flash behind the droplet site.
info: 3 light setup, there is bare flash on right behind the octa, you can see part of the stand. Triggered via radio.
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!
In response to a request, here is an iPhone photo. of my setup for photographing slides. There are possibilities on the market for holding films in position, which I may explore later for work with negatives, but for slides it works just fine without such.
The tripod and camera are set up with careful attention to the parallelism of image plane and pad - a spirit level is indispensible. Once set, the tripod is rock-steady over weeks.
A 12mm extension tube on my 100mm macro lens brings it all together; I use aperture priority with f/8 - this provides enough depth of field for any buckling of the slide. I push the pad around on the desk until the slide is in position - quick and easy with the tethered capture image as a guide on my computer monitor. The autofocus and auto exposure work well.
The whole setup is covered by a black bin-bag to minimise light from the environment on the slide, and to keep it all clean. I can push the pad around with the bag covering it like a tent to within a few millimetres of the desk. The camera in the 'tent' is controlled from the computer, of course, and I work in near darkroom conditions apart from the light from the monitor and from the pad. 'Canned air' is always handy!
Thermal blankets = cheap fun! :-)
Details compare the textboxes in the shot ...
RESULT
www.flickr.com/photos/galllo/14245308703/
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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
During a shoot I love creating a visual record of my setups & sharing them with you guys on my site. A couple of people have told me recently that they actually use my site as a reference for setting up shots while they are out on location. That's pretty humbling/awesome, thanks!
More on my blog.
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Strobist:
• 580ex II camera right on 1/4th power, through a Westcott Apollo strip.
• 600ex camera right on 1/4th power bounced off the ceiling.
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.
The cable guy came by today. I had him pose for this quick portrait.
Strobist: B800 Boomed & Dished Front and Above. ABR800 Front and Below w/ 30" Moon Unit. SB28DX on background and SB28DX's Super Clamped onto background supports back left and right.
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!
Christmas was good for Swet. I wanted to do a quick shot to showcase the photog booty. Since the CyberSyncs are made by the same people as Alien Bees, I wanted to give it a little creepy alien feel. So I went with an abstract green background.
Strobist: One SB-600 bounced into white foamcore at 1/16 to left of CyberSyncs. A white v-card to right of subject for fill. Another SB-600 camera left, gelled green and shot through a plastic laundry basket at 1/4 for background. CyberSyncs are sitting on a piece of acrylic on top of a piece of black foamcore.
Final image can be found here: www.flickr.com/photos/23145928@N06/3176929185/
Strobist setup:
- 430 EXII @ 1/32 24mm 1/2 CTB and grid cam front
- 580 EXII @ 1/16 24mm 1/2 CTO through umbrella cam right
- EOS 5D MKII @ 1" ISO 50
- EF 200 1.8 @ f/1.8
- triggered with Phottix Tetra
It's been a while since I've posted a setup photo, so I decided to post this one after RBCustoms and BrickThinker requested it. I set up the Wargs and orcs, and positioned construction paper below them for the reddish reflection of the fire. Then, I added the embers and glow effects in Photoshop, as well as a few minor color adjustments. The finished photo can be found here!
Hope you enjoyed this behind-the-scenes look! I hope to post more of these in the future!
Today's setup... Roll the mouse over the photo to see equipment description.
See also the old setup.
Closer flash means less power needed.
Less power means shorter duration, critical on high-speed shots.
This setup has a new loudspeaker, powered by an amplifier I assembled myself.
Still an analog sound trigger, I'm working on a digital one.
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Setup de hoje... Passe com o mouse na foto para ver a descrição do equipamento.
Veja também o setup antigo.
Flash mais próximo significa menos potência necessária.
Menos potência significa menor duração de flash, crítico em fotos high-speed.
Esse setup tem um novo alto-falante, com um amplificador que eu mesmo montei.
Ainda usa um sound trigger analógico, estou trabalhando em um digital.
Another workshop participant gets ready to shoot this setup at Carriage House.
We were using two 500W Hensel strobes at equal strength at approximately 45° angles.
THIS IMAGE IS PROTECTED BY COPYRIGHT. REPRODUCTION AND REDISTRIBUTION IS PROHIBITED WITHOUT THE EXPRESS WRITTEN CONSENT OF THE PHOTOGRAPHER. Inquiries to permissions may be made to this photographer through Flickr mail at this photo stream account.
Setup shot for the portraits of Mike Causer, notes should explain everything.
Blog: www.photosmudger.com
Twitter: @photosmudger