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mijn huidige setup, ga met je muis over de foto voor omschrijvingen.
Update: zie ook de setup uit 2006 :D
Found a mirror upstairs today from the old bathroom - perfect for this kind of shot as it doesn't let light spill from underneath. Tins of beans are the perfect height to fit the flash underneath too :-)
This was just a quick setup to take some pictures of the new hat a made. I normally would've put a heater and noisemaker but i knew she wasn't going to sleep so i didn't even try. I should've pulled the reflector out and put it on the other side of her to get some tummy shots but i just didn't feel like it =) Sorry for the messy room --> it's my living room and my girls rule the roost!
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.
Just an off the cuff setup to try and snap some water drops.
My 18-135 just doesn't seem long enough for things like this. ;)
The string made it easy to get the drops in the right place every time.
At first I used the dropper to put water on the string, but after a while I realized that I could hold the dropper against the handle and the drops would pretty much be where I needed them every time, so I started using the dropper exclusively after a while.
Not pictured is my D80 wireless remote which I used to snap the photos.
Flickr Explore Jan 23, 2008 #490
Setup for most of the shots in my Amigurumi product photography set.
Lighting Info
One Profoto Compact 600R from above in a Softlight Reflector with grid to light the toy. I used a black glossy metal plate from IKEA as table and placed another Profoto Compact beneath it. The flash under the table had a snoot to restrict the light on the background and different coloured gels to create different backgrounds.
Lighting setup diagram based on Kevin Kertz design. www.kertzdesign.com
/ BLOG
Here is the camera setup I used for the fly face photo.
I have a Nikon D500 with a TC-14B teleconverter attached. Attached to this is Nikon PN-11 extender that has a tripod foot to which is attached a NISI Swiss Arca plate. A reversal ring is used to attach a 35 mm f/2 Nikkor to the PN-11 and the lens then has a reversal ring attached to its F-mount to act as a hood. This is all attached to a NISI focusing rail via the Swiss Arca plate. The rail sits on a Benro gear-driven three way tripod head (GD3WH).
For lighting I use two Nikon SB-R200 Speed Lights triggered with an SU-800 Commander.
A few people have asked how I do the oil & water pics I've been posting. Here is my setup. I'm lucky enough to have a glass top side table to put the bowl on. I use a Tamron 90mm macro lens, all settings on manual. I got the basic settings from the YouTube tutorial I posted a link to but for me ISO 800, shutter speed 1/320, f7.1-8 seem to work pretty well - I have deviated from those settings too, so it's just a matter of experimenting until you find what works for you. I'm sure you can do it with a macro setting on a point and shoot with a little playing around. Interestingly I'm finding that I get my best results in the evening when the ambient light is pretty low. Hope this bit of info helps! ;D
The camera is pointed at some barbed-wire and two hummingbird feeders out the patio door. I have a Nikon SB-910 flash on a light stand camera left shooting out another patio door. Flash is triggered with the SU-800 which isn't in a line of sight but inside the IR bounces around enough to trigger the flash. I have clips holding open the blinds.
Nikon D4. Nikkor 500f4 G VR. TC1.4eII. Nikon SU-800 flash trigger. RRS Gimble Head. Gitzo CF tripod. Dell XPS Laptop.
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.
I thought I would reveal all of my “secrets” and show my setup for this photo. And yes, the camera lens got a little bit wet! I have limited energy, so I am all for making things as quick as easy as possible. I used an aluminum cookie sheet for the gray background, and placed a waterproof cobblestone base from Calico Critters on top of another cookie sheet that I used to span the sink. Grouchy did NOT enjoy this photo shoot! :-)
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
No more IM's pls. :)
here is the setup for the bug shots. every recent bug shot is taken from the exact same pot plant on my back deck. including; bee, hoverfly, spiders etc.
i move the flash around depending on the sun and of course the position of the subject. the 322 head is not a great option for those that have asked because the tiny movements you need for macro adjustments are just too difficult with the trigger. i will be getting a geared head soon and use the 322 on my monopod when i get one. if anyone has any suggestions on what geared head works well, i;m all ears. :-p
i also sometimes use a stryrofoam sheet or just some A4 white paper to bounce light back if i need it. but mostly i just use the built in bounce card on the sb800.
i have a home-made portable backdrop which i sometimes used for shots where i can;t get a clean background. i will post the image and a "how to" when i have some time.
i also use a softbox for flowers which is made or a box of corona, (without the beer). :)
no, i haven;t had any issues firing the strobes at all outdoors. i know some people do and they purchase pocketwizards. i think becasue i use the strobes close to the cam i have no issues. i don;t know enuf about the other stuff so i recommend you read thru the strobist site/ flickr group, (as i have), for more detailed answers and tips.
Experiences are the glue which will make you either bond with the camera setup you are using or eventually detach with it. Of course the specifications, image quality, ergonomics and all that will, in some way, lead you to some specific camera, but in a broad picture of life specs have very little meaning in the end. Experiences, images and memories you create are much more important and after decades nobody cares about the crop-factor, megapixels or burst rate of your setup (well you might, but only for sake of understanding how amusingly important that all once seemed). However, the experiences are the real thread of life which you will remember and be meaningful for you even after decades.
That’s why it’s really no miracle that my old Nex-5N became my dearest camera setup. It was my first digital camera that I actually bought myself instead of loaning from one from my friends. It was the camera I used when creating memories of my first daughter Aura. And finally it was the camera I happened to have when the photo bug bit me and I became a photography enthusiast that I am today. As you can see, the status of Nex-5N in my life was determined by the experiences I had with that particular camera, and if you follow this train of thought you’ll quickly understand that there are special occasions in everyone’s life when ‘that camera setup’ can emerge, and that those occasions are very much convoyed by the experiences you live. To continue this thinking, it seems to me that you can only have, at most, two or three ‘golden camera setups’ in your life, depending how active you are with your camera and what happens in your life – other setups are just ‘noise’ and uninteresting upgrades in-between the life situations. Those golden setups are the cameras you will remember with great joy and also something you will always find yourself yearning back – even if it would be totally impossible.
his is what the perfect camera setup is, and it’s what many of us are building bit by bit with lenses, accessories and such. As for my current Sony/Zeiss setup, I can safely say that there is a lot of ‘gold-potential’ there from both of the specs and the life’s point of view. For example, in terms of lenses, I’ve got great setup of different focal lengths with Zeiss image quality. Some of them are more traditional manual focus lenses (Loxia) and some of them are modern performers with AF and such (Batis & Touit). There is really nothing missing. In terms of life, I’m documenting the first steps of our second daughter Meri while Aura is also growing up, and both of them are bringing new things to our life on a daily basis. In short, I’m living the perhaps the most significant years of life and I have a camera setup to match it – at least for this year as the ‘Days of Zeiss’ project is determined to end at 31st of December. ‘Keep on shooting’, I try to remind myself every day.
And yet, one just cannot capture everything. As we were on a holiday at Åland islands, one of the greatest thing there for us was the sea. To understand how great it was for us, you have to know that normally we live at the continent and there are just lakes which we use for swimming at summer. Now that we were at the Åland islands we had an opportunity to swim at the sea – which was also first time for Aura and Meri to be in contact with the sea. This all happened on beach where there was so white and fine sand that ‘how can sand be as white as this’ Aura spontaneously yelled when she saw the beach. I took many pictures there, but my favourite moment was when I carried Aura on my lap deeper into sea. She hold her hand around my neck as she was squinting for bright sun light. When we got deep enough I threw her into air so many times that eventually it hurt my back. She was giggling and salty seawater was splashing into my eyes as I tried to threw her as high as I could. After that we got up on the dock just to run into beach and to do it again. One of those moments that wasn’t captured by the camera but I hope recollection of it will emerge from the pictures I did took. It’s all about the experiences.
Days of Zeiss: www.daysofzeiss.com
A little behind the scenes shot from our shoot this week at K Studio in Williamsburg, Brooklyn. Check the notes, as always!
Not quite the same setup, but a shot resulting from a modification of this setup is here.
This shows the general setup with sweep, lights and camera. We have additional lights to use under the sweep for bottom lighting. Even so, we could always use more lights, but this setup is pretty versatile. Next step is to mount some weights and wheels on the tripod to make it heavier and more moveable.
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/