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Setup shot for Jenna 1, 2, and 3. The notes should explain everything.
Blog: www.photosmudger.com/
Hommage to Setup KCW (best viewed large)
I painted this a little while ago in Shanghai in hommage to my good friend and in a way my graffiti mentor Setup KCW. It's been a long time since I last saw him and I have been wanting to paint a hommage piece for him for a long time, just could never find a spot that I thought good enough. The other day when I noticed this huge building that had just recently been closed down I imediatly decided to go and hit it up. Many different ideas of pieces and colors came to mind but I decided that the best hommage I could do was to reproduce his throwie in negative fill. And so that's what I set off to do. A month has passed and it's still there, untouched ... very rare for a throwy in Shanghai.
I met Setup back in 2000. I had already been painting for around 6 years and thought I had most of it figured out, focusing on painting (quote) burners (quotequote) and the traditional french block letter silver styles. My tag was just a poor excuse for a hand and I didn't even have a throwup. We met through another good friend of mine and kcw crewmate Tare. When I met up with Setup I imediatly got into a liking of the guy. A very discreet and humble individual who really gave a lot of thought as to what he was doing and where it was going. Talking to him I realised that I had it all wrong. For one thing graff wasn't about doing a pretty picture that other "graffiti writers" will like but about getting noticed, finding your own style, exploring possibilities. It's real easy to look at a bunch of pieces, see the trends and mix'n'mash into a "fresh" trendy piece but then you'll be forgotten just as quickly as you got appreciated. He taught me to see each of my letters as individual characters with expressions and attitude (ie an angry E a lazy S...) and pushing that thought to all the different parts of a piece. An example of something he'd do was a that very simple and structured straight letter then adding a shaky shivering P with a wierd face in it. At first I was like ... huh what? ... and then I realised that these small details gave so much character and uniqueness to your piece that makes it stand out from all the others. He also made me see the relationship between all the diferent aspects of writing, the connection there is between a tag - a throw up - a simple letter - a wild style ... working on everything together helps you find new ideas and evolve whereas if you simply focus on one or two aspects you will tend to stagnate no matter how much you paint. A tag makes you see the relationship between each letters in its most basic form, a throw-up makes you see the mouvement in the letters, a simple style helps you work on structure and a wildstyle on creativity.
I kept contact with him for a long time, and every time I'd see him we'd talk for hours about graff and styles ... not giving a damn about any graff gossip ... just about our evolution. He had a very strict idea about graff, how it had to be illegal from start to finish, how it couldn't and shouldnt be bought by corporations, how it was something that can only belong to ourselves.
A real talented fellow that I believe I owe a lot to.
List of times and zones,
Rain senors will cut off the system if more than 6mm has fallen.
Garden Village, Burnaby, British Columbia
I'm shooting a couple of couples for their prom tomorrow, and needed to test the fog machine setup in my brother-in-law's garage, where I have the lights set up.
Setup Shot for 042/365 Little Sisters Rule.
Camera Info:
Canon 7D, Sigma Lens 17-17mm @17mm, f/13, 1/60s, ISO 100
Strobist Info:
-2 Canon 430EXII's Camera Right and in front of subject, FULL Power, @24mm zoom, about 5 feet high, 3 feet away from subject inside 40 inch softbox.
-Canon 430EXII Camera left and behind of subject, FULL Power, @105mm zoom, about 5 feet high, 10 feet away from subject fired bare.
-Flashes triggered with Interfit Strobies. The sun was not triggered by Interfit Strobies.
Sort of a setup shot with Sylwia, but I kind of like it on its own.
Resulting image here.
Check the notes!
Website | Twitter | Tumblr | Facebook | 500px | YouTube |
Setup shot for my first attempts at smoke photography.
for your reference the picture has notes with what everything is :)
Thoroughly enjoyed doing these, and looking forward to having another go at them again soon. Lots of room for improvement.
Thanks for looking!
Results below.
Setup Shot for 048/365 Heart of Gold.
Camera Info:
Canon 7D, Canon EF 70-200mm f/4L USM @70mm, f/11.0, 1/250s, ISO 100
This setup shot was taken with a Sigma 17-70mm lens at 17mm.
Strobist Info:
-2 Canon 430EXII's Camera Left and in front of subject, FULL Power, @24mm zoom, about 7 feet high, 3 feet away from subject both inside 40 inch Wescott softbox.
-Flashes triggered with Interfit Strobies. The sun was not triggered by Interfit Strobies.
Paul Smith's Model Shoot Workshop at:
studioimaging637.com/
Strobist Info:
Beauty dish high over black seamless background at f/5.6
Two gridded strip boxes behind and to each side of the model at f/8
Softbox to camera left as main light at f/11
Silver reflecting umbrella behind and to right of camera at f/5.6
Triggered by PocketWizards Plus II
High magnification setup:
EOS 500D/T1i
Ext.Tubes
M42 Macro Bellow
Meyer-Optik Görlitz Trioplan V 100mm f/2.8
Canon EF 50mm f/1.8 mark II (reversed)
Extension length:
(Ext.Tubes x2 + m42 Macro Bellow fully extended) 24cm
Working distance:
(from tip of the lens to focus plane) 1cm
Magnification:
(5:1) 5x
Setup Shot for 047/365 Pony Power.
Camera Info:
Canon 7D, Canon EF 50mm 1:1.4 USM Lens, f/6.3, 1/250s, ISO 100
Strobist Info:
-Canon 430EXII Camera Right and in front of subject, 1/4 Power, @24mm zoom, about 3 feet high, 2 feet away from subject fired into white shoot through umbrella.
-Canon 430EXII Camera left and in front subject, 1/8 Power, @70mm zoom, about 5 feet high, 4 feet away from background.
-Canon 430EXII Centered above and behind subject, 5 feet high and 3 feet away from back of subject fired bare through a DIY beer coozy snoot.
-Flashes triggered with Interfit Strobies. The sun was not triggered by Interfit Strobies.
read about how I set-up my Personal Domino as my main planner :) breakitdawns.blogspot.com/2013/11/planner-setup-personal-...
My setup as of December 2009.
I've got a 22" HD Ready TV with Xbox 360 Elite, Playstation 3 (40GB), Nintendo Wii, Playstation 2 and N64 hooked up to it in some form. The only thing I really use the HD for in the Xbox atm. 3 racks to hold games; I've got 22 Xbox games, 23, PS3 games, 11 Nintendo Wii games, 13 N64 games and 43 PS2 games in there. I also have a stand near by to hold my GH guitars and such
Lighting setup for a photo shot described on my blog:
www.akelstudio.com/blog/food-photographer-in-atlanta-chic...
My specimen photos are taken using this setup. The base is a block of wood from the offcut bin of a hardware store that sells kitchen worktops. The camera is attached directly to a BPM focus rail, which is mounted on a tripod quick-release plate, screwed to the base through another small piece of wood. The rail allows me to move the camera and coarse focus it. At the other end of the table is the specialist equipment: a Proxxon KT 70 table, screwed to the base. This is a low-cost alternative to linear actuators or stacking rails: one turn of the handle moves the table 1 mm. The divisions on the dial are 0.05 mm, so by moving to half way between each one I take frames at 0.025 mm intervals, which is narrow enough for most whole-insect photos I take. Smaller intervals are possible with smaller movements of the handle, but they are not easy to measure. This idea came from John Hallmen: you can see his setup here. Without his advice, I would not have been able to do any of this, so thank you to John and to Nikola Rahme; two people whose photos I greatly admire and who have shared their techniques freely on flickr.
A SIlverline Helping Hands is mounted on the Proxxon table. The crocodile clip holds a piece of plastazote in its jaws; I stick the specimen's pin into the plastazote and try to get it in the same plane as the camera sensor. This is fiddly: a vertical setup would be easier for this, but it would need better handiwork skills than I have. A heavy granite base would also make for a more stable setup, as would a concrete floor instead of a wooden one, but there is nothing I can do about that in my house.
Lighting comes from a flourescent tube desk lamp. The lamp would not hold itself in the right position, so I broke it off from its stand and I held it in a clamp stand instead. I use a simple cylinder of greaseproof paper as a diffuser: this is just pushed on to the end of the lens. To help get a more even light I have a sheet of kitchen foil as a reflector opposite the lamp. I also fix on the camera a 26mm stepping ring with foil over the front, another idea from John Hallmen, explained here.
I have tried other lighting, such as using two Ikea lamps (like the one that carries the foil in the picture above), each with a plastic cup over it to act as a diffuser. But the setup shown here is the one I have come to prefer.
I use Zerene Stacker for the stacking, with DMap as my main image, retouched from the PMax image where the detail is lost in the DMap. Then the image is edited in GIMP before getting a posting here.
Setup shot for 055/365 Just Kicking It.
Camera Info:
Canon 7D, Sigma DC 17-70mm 1:2.8-4 Macro HSM @17mm, f/9.0, 1/60s, ISO 100
Strobist Info:
-Canon 430EXII Camera left and in front of subject, 1/2 Power, @24mm zoom, about 3 feet high, 3 feet away from subject through 40 inch Wescott softbox.
-Flash was triggered with Interfit Strobies.
Setup for this photograph (opens a new Flickr window).
If you find this plan difficult to see clearly please see the full size version.
Learn how to light at Strobist
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.
Setup shot of Mini Fab in the stream. Alien Bee 1600 with beauty dish, camera right. Here is a picture of Ray taking his shots.
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.
Back in the game. New setup in San Francisco.
Fun fact: I have approximately one Serenity's worth of LEGO.
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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Twitter: twitter.com/photholics/
Facebook: www.facebook.com/photholics
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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.