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I never realized how many interesting buildings and views there are in the town I live in until I seriously started to scout around for backgrounds.
The one thing I have to do is wait until the shops close so there aren't any cars or trucks mixing in with the Elgin Park vibe.
Usually early in the morning or on the weekends is the best time.
The Holidays, though, are great because everyone leaves town so the streets tend to be empty.
When I was young, I would purposely take walks by way of short cuts and back alleys to avoid seeing people. It gave me the impression that I was the only person around.
But I must add here, I liked the fact that I could walk by an open window and hear a radio or a muted conversation, or off in the distance I could hear a train rolling by.
How interesting that decades later I would be photographing such scenes.
I know, I know, perhaps I should see a therapist. Actually I did but there were no inroads made on this particular subject.
Just think, if there were, Elgin Park might not exist!
Now that's a scary thought.
Here is the completed image:
Canon EOS 5DSR
Canon EF 100-400mm f/4.5-5.6L IS II USM
Lee Soft GND 1.2
Lee Soft GND 0.9
Lee Square Circular Polarizer
It was always my dream to visit Namibia. The rugged barren land of Namibia has an intensive beauty. That is why this is called as one of the nature photography paradise. It is not only photography. It is rather the whole experience. The drives through the inner roads with spectacular landscapes and desert, the flash of greed and yellow in between the red sand, the presence of the springboks and other animals, the zero pollution skyline; everything is like a movie set. I was super excited all over the trip and it always thrills me even now whenever I look at the images and think about the place.
Now; regarding this image. This is a sun rise shot on the way up to the famous big daddy. Namib-Naukluft National Park is privately owned and entries are restricted to certain amount of time. The park gate opens at Sunrise and closes at Sunset. The dunes are around 60 kms from the gate. That means; there is no chance of watching sunset or sunrise. However if you can stay inside the park gate; you can go our way earlier to catch the first light from above the dunes and stay there long after sunset. There is only one park owned lodge inside. The lodge is very nice, beautiful food, extremely expensive and gets booked well in advance. I had to book it almost one year in advance. But it was all worth the planning.I was there for three nights and every day; I was out for an early 5AM start with a packed breakfast. Ended up staying all day till after sunset inside the park and actually eat the breakfast during lunch time. A bit of rest inside the car during the hot afternoon sun. Then photography again with the low sun from couple of hours before the sunset. After that the dinner was the most waited thing. :)
That day I planned to take the path up to Big Daddy. A 1000 meter high sand dune. The highest in the world. I actually underestimated the size of it. So naturally I didn't have enough time to go up to the top before the sun came up. I realized it late and immediately setup for the orange ball to come up. Even though the place is known to be one of the driest place in Namibia; there is enough dust on the air to give a good color to the early sun light. I had certain composition in mind from above the Big Daddy. But from in between; I couldn't really find such interesting foreground. So I zoomed all the way to 400 MM to grab a big sun image. The first idea was to capture it with the sun just coming up from the dune. But later found this composition more interesting. I was pretty unsure of how it would end up; but seems was not such a bad idea.
Please have a look at my website www.avisekhphotography.com for all my recent works.
Have a nice weekend.
Hope you will enjoy the picture.
Any suggestions or criticisms are always welcome.
This is the macro setup for my M&Ms pictures. Canon Rebel XTi with Canon 100mm f2.8 macro USM lens. Lighting used is single Alienbee B800 with a shoot through umbrella triggered with Cybersyncs.
Setup for portrait (in the comments)
Elinchrom ELC1000 above through scrim. 21cm dish with grid on background rear. 90cm stripbox front aimed down for fill. Gridded stripbox rear for rim/hair. Triggered with Skyport. D800E / Nikkor 85mm 1.4G.
These young photographers were in an quite lengthy discussion on how to setup their shot :)
Taken in Chinatown, near Buddha Tooth Relic Temple
Unable to take this photo outside due to the series of snow storms we've had here on the East coast, I decided to make it snow on my own kitchen table.
From the beginning I wanted something simple yet dramatic, so a brick wall seemed like a good choice.
The wall itself is constructed of 1/2 inch thick
foamcore with a sheet of vacuum formed plastic bricks taped to it. The sheet was sprayed with various colors then accented with random hand painted bricks.
As for the buildings, they are old standbys from my model collection, with one of them elevated by being set on a book to give the impression it is taller than the other one.
Not knowing what was going to show up in the final photo, I decided to make sure there were "apartment" details showing through the windows.
The "snow" of course is the ever faithful baking soda [ with some dirt mixed in it ] sifted over a slightly damp model base. This moisture allows the baking soda to clump up when I make several passes with a diecast car to create authentic looking tire tracks.
And one last item; it was important for the look of the photo to have just one source of strong light, to give the impression of a street lamp. The trusty 60 watt bulb did the trick nicely.
Here is the completed shot with the position of the cars reversed. [ it just looked better with the woodie in front ]
www.flickr.com/photos/24796741@N05/8479083792/in/photostr...
Setup shot for 214/365 Journey of Motherhood.
View 10 other different photos of this shoot with Kristen on my Facebook page!
Camera Info:
Canon 7D, Sigma DC 17-70mm 1:2.8-4 Macro HSM @17mm, Æ’/5.0, 1/60s, ISO 100
Strobist Info:
-X2 Canon 430EXII camera left, both in 40" Westcott Softbox, both at 1/2 power and 24mm zoom, being held by Voice Activated Light Stand about 8 feet away and 8 feet high
-Flashes triggered using Interfit Strobies triggers
How do I get 2 flashes in a softbox, you ask...
www.flickr.com/photos/matthewcoughlin/5766940862/in/photo...
As visually complicated as the ABANDONED CADILLAC photo might appear, it really was a fairly simple setup, right on my kitchen table.
[ here's the finished photo:]
www.flickr.com/photos/24796741@N05/7028272255/in/photostr...
I've had that bridge model for some time and wanted to use it in a different way.
After I placed it on the "road surface" the whole scene fell into place because the piers of the structure seemed to make a stronger statement than the iron works.
After that decision, It was a just a question of what era to represent.
When lighting the set, it was immediately clear that a dramatic over head source was the way to go. The pattern of the girders falling on the automobiles defined the story.
An interesting aspect of that lighting was it created an odd flattening of the background; there was no sense depth, even though the backdrop was over 3 feet away.
I figured for today, rather than writing all the detailed strobist info in a giant paragraph, instead I would just illustrate the entire setup.
camera info: Nikon D700 | 50mm(Æ’/1.4G) | Æ’/1.4 | ISO 200 | 1/125s
Production photograph for The Infamous Brothers Davenport, which is currently running at Edinburgh's Royal Lyceum Theatre.
In a show full of baffling illusions and trickery, the setup for this scene was relatively straightforward: a smoke machine, a wind machine and a blue light. The result, however, is one of the most visually stunning images I've seen on a theatre stage. When I first saw it during a preview of the show - mouth open in awe - I felt the thrill of knowing that it was my job to photograph it, but also the fear that I wouldn't do it justice: that I'd miss the moment, or that I'd fail to deal properly with the overwhelmingly blue light which, as any photographer of performance knows, is all too easy to do.
I'm very pleased, though. I feel that this shot in particular ranks among my best work, and is almost certainly the best photograph I've taken of a piece of theatre.
The Infamous Brothers Davenport is running at The Royal Lyceum in Edinburgh, and thereafter at the Citizens Theatre in Glasgow and Eden Court Theatre in Inverness. Details, along with a trailer for the show, here: www.voxmotus.co.uk/davenport.php
Edinburgh, 2012.
Setup for the first try at this concept, yes I have more ideas to try :)
The key element is only just in view, which is a Pringles tube mounted on the cameras lens and can be seen at the base of the pic.
The rest is fairly simple too.
A piece of blue paper folded accordion like to create the background and provide the colour. The Pringles tube is just to help keep it upright, useful things, LOL.
Behind that a Yongnuo LED video light for the illumination.
The small 3inch high figure is stood on a plastic box to raise him to the right level.
Thats about all there is to it, quick and easy to set up for something a little different.
The result can be seen below.
Setup shot. In case you're wondering, my 'photo studio' right is just the top of a gloss white set of draws against a white wall. I was surprised how well it worked especially as the gloss finish can give me a little floor reflection sometimes which looks nice.
Here's the setup for this headshot I took of Sophia.
Note the SB-600 mounted on the back of her chair with a Manfrotto Justin spring clamp to illuminate the white backdrop.
The final photo was taken with Sophia's face much closer to the camera and between the two umbrellas.
I took the idea for the arrangement of lights from Joe McNally's book "The Moment It Clicks."
Setup shot for this:
www.flickr.com/photos/isayx3/3940545708/
It's not as dark outside as it looks..its about 5:30PM