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beauty closeup setup, one flash head with beauty dish, one silver reflector home made and one hair/contour light with small soft box
Canon EOS 30D / 50mm 1.4, f/8.0, iso.100, 1/125.
Carlos+Jennifer, superaron todos los obstáculos para demostrar que el amor todo lo puede, todo lo soporta. Bendiciones para ellos en su nueva vida.
Momentos FotografÃa... instantes felices de gente feliz.
www.facebook.com/momentosfotografia
Setup Strobist: Canon Xti, canon 50mm 1/8, 2 flash vivitar 285HV disparados por radio trigger (el de frente con sombrilla blanca y el de atrás desnudo), trÃpodes y sombrillas blanca, photoshop cs6.
Todos los Derechos Reservados ©2012
setup shot for www.flickr.com/photos/fjgphoto/5202279505/
guy with camera
Lighting setup for the most recent portraits.
SB-80 DX in white shoot-through umbrella camera right as key, white reflectors camera left in front for fill, gridded SB-28 on stand back camera left for hair light, and gridded SB-28 on floor to light backdrop. All triggered with V2s, shot with Nikon D40, 18-55 mm lens
This is the lighting setup I used for my soon to be posted film noir shot. I cutout a light modifier to make fake venetian blinds, and also used a DIY grid snoot. I really could have used another flash as I wanted the bottle of whiskey lit as well, but that will need to wait. Not much of a "studio", but it is what I have in my "man cave" :)
I uploaded this one to show how/where I attached the fishing line (near the base of each glass). The line runs off to the right. I simply pulled it while my son hit the shutter release.
Lighting Info: Canon 580 EX II camera right on 1/2 power shot into an umbrella. SB-26 on 1/2 power camera left shot through an umbrella. Black acrylic table top and black velvet backdrop.
My setup for hobbiest photo editing, etc.
-2 X 27" Apple Cinema Displays (2560x1440p)
-Ducky Shine 3 - Cherry MX Brown, Vortex PBT Keycaps
-Apple Magic Mouse
-E-3lue Mazer Wireless Gaming Mouse
-Steelseries Dota 2 Mousepad
- Bose Companion 3 Series II Speakers and Subwoofer
Setup for this shot, notes should explain everything.
Blog: www.photosmudger.com
Twitter: @photosmudger
Hmmm, not sure this setup looks anything like the final image, but it would have been so dark, nobody would see anything.
Just pretend the ringflash on the camera lens is turned off :)
Not absolutely sure the 2 spoons are in exactly the same position, as I messed around with angles a lot here.
The key to the shot is the light source behind. This is provided by a diffusion screen with a pair of remote Neewer SF-01 mini slave flashes hidden behind it. These are fired away from the screen to bounce light off a white card placed approx 12inches/30cm behind. You can just make out the shadows of the flashes through the screen.
Directly behind the spoons, a sheet of black card is placed in front of the screen to prevent direct light and provide the black background.
The spoons are placed on a piece of black felt, which does a great job of soaking up stray light and preventing reflections.
What wont be obvious here, is that the surrounding area has black card around it and the room lights were turned off, to prevent any stray relections from showing up in the spoons.
May sound like a lot of work for a very minimalist image, but it's all good fun :)
The final rendition can be seen below:-
Setup used for the ice and water shots, links at the bottom.
The ice and water are placed on a sheet of acrylic which has the underside painted black to make a black mirror. Glass works equally as well.
Behind this is placed a screen of tracing paper, white will also work, but reduces light and gives a slight texture.
The light source is then placed behind the screen, for this shot I used a Yongnuo YN460 set to 1/2 power and mounted on a radio trigger and mini tripod.
If you have a softbox, this would work even better.
To the sides of the ice, are a couple of pieces of black card, folded in half to form a V to make them self standing. These deepen the contrast of the edges of the water and ice.
The hint of blue shown here is simply done by setting the white balance of the camera to the Tungsten setting, making the flash appear blue.
Thats about it, sounds complex, but hopefully this shot will show it's not.
Results from this in the first comment below.
Strobistinfo:
Main (left): GN300AD-1/8-softbox 75x75cm
Rim (left): 5400HS-1/4-105mm-12.5cm snoot
Rim (right): LP120-1/2-85mm-12.5cm snoot
Background (darkpart): GN300AD-1/1-Lee 164 (Red) and 132 (Blue) gel
Background (lightpart): 5400HS-1/2-70mm-3mm grid-1/1 CTB gel-gobo
The new setup for 2010. New design is now almost ready. Many new function are added into the new version. The hole unit is redesigned for optimal use. Wireless remote flash control is now integrated into the main setup. The wireless works on 868 MHz and drive multiple remote flashes in TTL mode. All setings are done via the console on the unit. New function like temperature, time clock and many small change like short disable of the camera during capture to re-aline the lasers to the object etc.. An extra third AVR controller (Atmega328P) is added to the unit to support the new functions. The basic controller stay the CPLD board due to the highspeed timings and the parallel processing of all the functions. The number of I/O signals is increased. The lasers need to be redesigned for better fine-tuning. This must result into capture of supersmall insects in-flight, smaller than 0.5mm
The old version ano 2009 stay actief until the new version is ready. The parts are in stock, drawings are made now. This take a lot of time to realise but the proposed time to be operational is near begin March 2010.
My very basic setup, or how not to do it :-) . This is sat on a small coffee table, quick and easy but not good for the knees.
The subject is sat on top of an upturned cardboard box which has the filtered background flash under it. On top of the box is a sheet of 1mm clear acrylic sheet with black card under it. Either side of the rear of the box are sheets of black foam rubber packaging material to stop the key light contaminating the background, which is an old advertising sign about 60cm/2 feet behind the coffee table.
Main light is a Canon 430EZ set at 1/16, bounced off a large sheet of white polystyrene to the right, with a white cardboard box to the left of the subject as a fill reflector.
I did say it was basic, LOL.
Set up for this
www.flickr.com/photos/steveblackdog/4287304633/
Same set up used with white base and background lighting
This is how my work setup looks like at the moment, until we change office building for a brand spanking new one :)
Setup for Scooters.
Strobist:
Ranger A Head, A port at 5.0, 135 Midi Octa with both diffusers, camera left.
Ranger Quadra A Head, A port at 3.5, 130x50 strip with both diffusers, rear camera right.
Ranger Quadra A Head, A port at 3.5, 130x50 strip with both diffusers, rear camera right.
Triggered by Skyport Speed.
The studio setup for "Crimson & Gold". The only problem is that the colour of the red silk bag has gone somewhat pink.
Entry for Scavenge Challenge December: #4. Now, show us how you set up the shot (lighting, props, etc.). (Rob, #3 and #4)
Setup Description:
• For the surface, I used a piece of plexiglass placed on top of red mat board.
• An orange piece of board was used for the background.
• I left a gap between the two pieces of board to allow light to pass through from below.
• I put a flash on the floor under the table, shining up through the gap, to illuminate the background and the undersides of the shoes and the bottom of the cherry.
• Black cards were used on the sides of the shoes to eliminate unwanted reflections on the shoes.
• Finally, a white card was used on top to bounce light from the flash, onto the tops of the shoes, and the cherry.
• I got rid of the gap, and blurred the plexi surface to hide the scratches.
• A “Cross Process 2″ filter was applied in Lightroom and the photo was cropped to spec.
Macro test setups.
Test object : KC73129MP
Number of Effective Pixels: 500(H) ´ 582(V)
Unit Pixel Size: 9.80µm(H) ´ 6.30µm(V)
This is a CCD with fine structure as a test object. The structure is uniform, perfectly straight and the dimensions are fixed. The macro magnification can be measured easily.
The 100% crops are always 600x400 pixels. Since a sensor pixel less than 10 um the resolution of the image can be properly checked.
I use a new tube-lens, the AF-S Nikkor 70-200mm 1:4G ED.
The advantage with this lens is the possibility to change the focalt length. This also changes the macro ratio. The ideal value is 200mm and this lens performs excellently. At other focalt values the quality remains very good but there are problems with the lighting in the corners. You'll practically limited to about 150mm. At 135mm you will have to adjust the angles sure if your image is in that zone. Smaller than 135mm is no longer usable, you lose too much by the dark corners. Successive images show these results.
white thermal Insulation foam tunnel capped with a diffuser panel, shoebox on the bottom, one strobe above it set on wide for general lighting.
1 strobe behind subject aimed at camera right for rim
a mirrored "7" from black choroplast so the lighting wasn't that even.
Needle threaded with fishing line, punched through the insulation, strawberry, insulation. (shopped out, but it was as easy as drawing 2 lines)
These are in a variety of shapes and colors. Some are actually commercially manufactured for model RRs, but most are fuzzy fabrics from the fabric shop. Sprayed in several colors for different crops. Corn fields seem to be the main type in this area-but not American style corn. These are a light brown color and look more like wheat to me.
Learn how to light at Strobist
My setup for the Stobist Lighting 102 Assignment "Umbrella Specular Portrait".
All walls at home are painted with a flat finish. I was looking around the house and the best reflective backdrop I could find was ... the top of my dining table ... bear in mind it weights close to 200 lbs ;-)
The flash is Canon 340EX, shot through white umbrella at camera right as you can see.
Lighting setup for a photo shot described on my blog:
www.akelstudio.com/blog/food-photographer-in-atlanta-chic...
Strobistinfo:
Back(low): GN300AD-1/16-Lee 105 Orange gel
Back(high): LP120-1/2-28mm-Lee 105 Orange gel
Left and Right: 5400HS-1/4-105mm-DIY 8x31cm softbox
Underside: 5600HS(D)-1/4-70mm
This is my setup for the Dylan/Christina Shoot Located in This Set.
Strobist Info
1 SB600 Camera Left and High
Bounced off 45" Umbrella
Fired at Full Power Using Nikon CLS
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A slight variation from the previous use of this setup shown yesterday.
The main difference is the light onto the background.
The Pringles tube snoot previously had a black card lining inside it, to give a tight hard edged light on the backdrop.
This was removed here allowing the light to bounce off the foil sides of the inside of the tube, giving a larger, soft edges and brighter light, which I feel more suited the shot.
Judge for yourself on the image below ;-)
© copyrighted image; all rights reserved.
So here's a setup shot from the double espresso shot. Nothing fancy.
The cup is empty because I had already had the coffee before I thought about taking a setup shot :)
[strobist setup]
yongnuo yn568ex at top with snoot - 1/32 @ 24 mm
[camera]
Fujifilm x-t10
[camera setup]
ISO200, 1/180, f1.4
[lens]
Fujinon 35mm f1.4
[trigger]
yongnuo rf-603CII
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