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2010.
setup for this.
featuring 'Lizzie' sunglasses from Wintercheck Factory (www.wintercheckfactory.com/shop/1175-LIZZIE-SUNGLASSES)
Model & Wardrobe: Alexander Parker
Hair & Makeup: Zach Taylor
Assistants: Brittany Sturrett and Jessica Whitehead
Strobist: Two Profoto Acute2 packs, 5 heads. One high, center, and front (key); one high center and back (hair); one on each side and back (rims), one behind model for background light; all were gridded 10°. Alienbees ABR800 Ringflash on-camera.
This is a quick lighting setup for wedding photos. This is the lighting setup for shots like this shot of the groom picking up the bride, this full-length photo and this nice portrait. It's similar to the 'clamshell' lighting, but not so much a 'clamshell' as an 'octa-stack'. Basically, it is 2 Vivitars at 1/2 power into shoot-through umbrellas that are stacked, one on top of the other to give a nice soft, vertical light source.
Funkfreunde und Freunde des Funks trafen sich am Wochenende in der Nähe von Halle auf dem Burgstetten zum alljährlichen Feldtag.
DL1HQE
Setup for these two shots:
Setup for this photograph (opens a new Flickr window).
If you find this plan difficult to see clearly please see the full size version.
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Here is my setup that many of you were asking for!
I would suggest to everyone that it is NOT a good idea to have your drop setup in any room with carpet. I was able to get my whole setup cleaned and all the nasty water into a gallon pitcher. But that gallon pitcher never made it out of my room. Now it rests as a BIG green splotch on my carpet. Lovely
I spent many hours trying different setups. Most of my drop pictures i have uploaded recently have been in different setups i had. This is my final setup that suited me well!
Result:
Voici mon nouveau "setup" pour aller faire de la photographie infrarouge.
Le problème de l'infrarouge en numérique, c'est que si on n'a pas un appareil converti à l'infrarouge, dès qu'on ajoute le filtre devant la lentille, on ne vois strictement rien dans le viseur. Pas facile pour composer son image...
Pour éviter de toujours avoir à recadrer entre les poses, j'ai installé une plaque métallique permettant de mettre 2 caméras sur un seul trépied. Le résultat : on synchronise une fois le cadrage entre les caméras et ensuite on s'amuse !
Ici, j'utilise donc ma D200 pour faire le cadrage, et ensuite je me sert de la 5700 pour faire l'infra-rouge.
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Le filtre infra-rouge sur la 5700 est un filtre fabriqué avec du film format 120 pour diapo développé sans avoir été exposé.
Hein ? Quoi ? Comment ?
Simple !
Le film à diapo va normalement dans un projecteur, et un projecteur ça chauffe, alors les films diapo doivent laisser passer l'infra-rouge. Ceci permet au film de ne pas surchauffer dans le projecteur. Maintenant, si on n'expose pas du tout un film à diapo, il restera noir, il bloquera donc toute la lumière visible. Ceci nous fait donc, oui ! Un filtre infra-rouge :-) Et comme le format 120 est beaucoup plus grand que le 35mm, ça permet de faire des filtres plus grands :-)
Setup for "Summoning the Dragon" - please click here to go there. [Flickr page - opens in new window]
All setup and lighting info is in the notes accompanying the pic above. Or at least I hope it is... ;-) Move your mouse over the pic to see the notes. If I've left anything out please feel free to ask. :-)
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Experimental setup to edge light a glass, using just 2 small lights and a pair of DIY difussion screens 9 Details here : www.flickr.com/photos/steveblackdog/5026934119/ )
By using the screens, I was able to both light the glass and mask the black part of the background from the same lights. Hopefully the photo shows where the light was hitting the backdrop.
The lighting is a little off balance as the left screen was fitted with tracing paper, while the right had a sheet of white printer paper. Hopefully it shows the tracing paper gave a slightly harder light.
Lights were a pair of Neewer SF-01 mini slave flashes, mounted on Blazzeo SLT-4 radio triggers and mini tripods.
As an aside, all the lighting gear used for this shot, cost less than £40/$60, so if you thought using flash off the camera was expensive to get started, it needn't be.
This is beginning to look familiar :) Maybe I should have switched the red and blue around for a bit of variety ;-)
I have altered the angle of the overhead light in this shot to better show the working area, but it does still show how the brightfield lighting works on the bottle. The black portion of the backdrop is slightly compromised because of this.
The black portion is an A3 Sheet of Fun Foam and is postioned approx 12 inches/300mm behind the bottle. I find this foam is less reflective than card and use it most of the time.
The large white part of the backdrop is an old advertising sign and made of a heavy duty kind of Foamcore with a plastic instead of paper covering. Onto this I fit various sheets of card/paper/foam sheets as required with spring clamps at the top and as you can see, clothes pegs.
The flash at the top is also mounted on another spring clamp which has a screw on cold shoe to mount the flash.
This is a Yongnuo YN460, set at 1/16th power for the actual shot. This is fitted with a card flag/reflector to prevent the light from falling on the bottle itself, I have altered the angle slightly to allow a little more light spill for this setup shot.
The little flashes to the sides are Neewer SF-01 mini slave flashes, also sold as Godox CF-18 or Vivitar SF2000's. These are mounted on Blazzeo SLT-4 radio triggers (re-branded PT-04 TM) which are in turn fitted on cheap mini tripods.
Also worth noting is my worklight in the front right corner. Though the room is far from dark, the lighting is subdued and this light helps me see what i'm doing.
It is a Yongnuo SYD-0808 LED video light set on it's lower setting and left on the whole time. As you can see, it has no impact on the photo due to it's low power compared with the flashes, it's still too bright to look into directly though.
After my winter break, I am starting this year with a 52 weeks project!
Every sunday a new shot with setup!!
Light Setup :
- Key Ringflash, left side above
- Key Quadra, right side, through softbox
- Silver reflector underneath
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Setup shot for this one.
X1600 in beauty dish above camera
X1600's on either side of backdrop, about a stop higher than beauty dish
I've just been clamping white poster board to the reflectors on the background lights to cut flare rather than trying to get anything large home from the hardware store and it's been working pretty well
There was a lot of traffic through the room the day this was taken, but usually the backdrop would be fully extended over the floor to cut the orange reflections from the wood floor.
Todays high speed shooting setup,
Lessons learnt from last time.
Put egg on a sturdy plinth, then it won't fall over.
Check focus between shots.
Shoot in RAW
A bit furry but it was taken with my phone.
Some info
Canon EX 430II set at 1/64 power
on ebay hotshoe, tripped with diy photo sound trigger.
mic about 6-8 feet from bb gun. behind camera.
bb gun about 12" from egg, shooting from the left.
For those interested in the Trigger.
The circuit I used, I came across on diyphotography.net
www.diyphotography.net/universal_sound_and_optical_slave_...
that post was by a guy called lullaby, he has a website with tips, lullaby.homepage.dk/gallery/index.html
My Schematic is basically the same as lullaby's (all credit to him), I just added the reset button and the extra mic.
Light setup for a portion of the yoga pose shoot.
Two White Lightening x1600s, both on lowest power. One on boom with covered umbrella (functioning like a soft-box) on boom arm directly overhead. One with strip-light box behind model.
Studio: North Denver Photographers Studio.
Setup Shot For RR shoot.
(thanks to Aly for gettin this shot of me.)
Main light:
1 Canon 430EX
1Canon 580EXII
Both on full power i think.
Fired into single umbrella to match ambient.
ISO: 100
Ranged from f/9 1/80s to
f/6.3 1/200s throughout they day depending on ambient.
Sun as hair/fill background...
Superclamp clamped to stand to allow mounting of second flash on stand.
I almost got run over by a train that day saving the stand and lights...
Setup used for these shots:
www.flickr.com/photos/brittonphotography/2084365065/
www.flickr.com/photos/brittonphotography/2084303113/
www.flickr.com/photos/brittonphotography/2085027914/
Now I can share a setup shot since i've tried it out and seen that it works very well. I haven't messed with colors or the lighting much yet on my photos, just been getting comfortable with using the electronics. I will say the stopshot is a joy to use over doing these manually like I did before. I think the next time I shoot it will be time to try out some ideas I have. I do have a shoot that I might upload later, but it is just a test just. thanks for looking.
BTW the broom hanging on the wall in the back is not part of the setup. ;-)
It still amazes me how much I can do with two flashes and some cheap triggers.
(No setup info nessasary because of the setup photo.)
Messing around with more Pringles tubes in an attempt to get the most light from a pair of 20W CFL lamps.
The Pringles reflectors are mounted on a pair of standard table lamps, replacing the normal shades.
Rather than just taking a window out of the tubes, a kinda H shaped cut was made around the tube and the sides opened out to give additional reflectors. This should show what I mean better than trying to describe it :
www.flickr.com/photos/steveblackdog/4668956897
This does increase the efficiency of these bulbs considerably if you want directional light from them. It will also work with he spiral type of CFL's which are more common in some places.
The lamps are on a level with the subject here, most of the light being directed at the orange card background, but with some of the reflected light from the opened wings illuminating the subject. Oh the object is a frosted glass top from a decanter placed on a sheet of black painted acrylic and can be seen in the shot below.
Ignore the water around the base in the setup shot, more work is needed on that before I will post any shots with it.
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Light setup for the previous photo.
Hit up that BLOG for more photos and info!
Strobist Info:
B1600 Left of subject (high)
Shot through 47" Octobox @ 1/16th Power
Triggered via Cybersyncs
Powered w/ Vagabond II
22" White Beauty Dish on Head
Nikon D300 | Nikkor 10.5mm fishey Æ’/2.8
My new office setup, including my MacBook Pro 2.16 GHz 2 GB, LaCie external HD 250 GB, Griffin Elevator, Apple wired keyboard and Apple wireless Mighty Mouse.
1 Alienware M15x with ViewSonic 27''
1 HP 8000 Elite with ViewSonic 22'' and Samsung 22''
1 Panasonic Projector for the playstation 3
Need to clean all the cables
Setup and lighting details for the photo below.
If I were able to draw I probably wouldn't be taking photographs. :-)
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My editing setup. Mac dual quad-core Nehalem @ 2.93GHz.
16 GB RAM. 4 x 1 TB drives in Raid 5 via Mac Pro RAID card. Dual ATI Radeon 4870's. Dual 24" LED Cinema Displays and one 20" HP LCD. M-Audio MobilePre USB audio interface. M-Audio BX8a reference monitors. Sony MDR-7506 headphones. Various input devices including FCP keyboard, Shuttle Express and Logitech MX revolution wireless mouse. Custom glass over diamond-plate desk.
Here's the setup for my levitation shot and my jump kick shot.
2 Nikon SB-600s at 1/2 power with Honl Speed Gobos blasting the wall.
Vivitar 285HV at 1/4 power in a shoot-through umbrella.
Red laundry hamper is approximately where I stood/jumped.
Tripod is where the camera was.
I think I'll be using this room as the studio from now on. Lots of space is nice. :)
More on my blog.
This is the setup I used to create "Watching in the Dark".
Camera mounted on tripod and fired remotely. Canon 5D mark III with 70-200 at 135mm. Manual focus and manual settings: ISO100, f/13, 1/250.
Two Canon EX-580 flash guns triggered with PocketWizards. One light to the left with grid and small diffuser, manual settings +2 power. The right light also with a grid and manual settings, -3 power.
The camera was pre-focused. I shut off the lights in the room and had the flashes angled so that they wouldn´t light the background.
The left light was the main light and elevated to create the shadow under the brim of the hat. The right light was used as a soft fill to light the eyes under the brim.
Post-processing in Lightroom CC. Work mostly consisted of cropping, dodging and burning. I also added the facial camouflage with colored brushes.
Looking at this setup shot, the angle of the glass has me thinking I had drunk the contents :)
As it happens, it's just water with food colouring added, so the only effect would have been a red tongue anyway.
The glass is mounted on a scrap of black foamcore, with a piece of black card wedged against the stem to prevent it sliding down the slope, plus a rubber band on the opposite side to stop it from falling over.
Lighting is provided by a pair of 20W CFL lamps fitted into Pringles tubes, which have a sheet of white printer paper rolled up and placed inside. The paper gives a softer more evenly spread light than the foil interior, to give a better exposed white background.
I did get a bit of light falling away in the corners, though easy to correct in photoshop, not ideal.
Still playing with this, so a better way of lighting might appear tomorrow ;-)