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Snap with the EP5 of the EM1 setup I had rolling a good 8 minute long composite exposure of the sunrise (a neat shot I haven't posted yet). Nice to have an avenue for posting setups in an artsy way once again, like when I was doing time lapse with my Nikon V1 way back in 2014. :p
lighting setup for this image:
www.flickr.com/photos/yurokaleksandrovich/11065551656/
1 - Key light: 50cm Profoto Beautydish with 25 degree grid on a boom
2, 3 - Fill lights: Profoto Zoom Reflector with 20 degree grid
all light units are Profoto D1 Air 500W/s Monolights
visualization - set.a.light 3D® STUDIO by elixxier
I used the same principle - gridded beauty dish from above and two grids both sides for these images:
www.flickr.com/photos/yurokaleksandrovich/8750462638/
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!
This was the setup shot for this photo: Robyn.
The setup consisted of two flashes with two shoot-thru umbrellas. One brolly low to the ground and aimed up, one high and aimed down. Aim your camera between the gap in the umbrellas.
This gives a very even light over the entire face with minimal shadow. The few photos we did like this all came out great, very glamorous.
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.
BTS pic for this shot:
www.flickr.com/photos/yurokaleksandrovich/15982483422/in/...
two lights setup:
1. main light: Profoto D1 Air 500W into Profoto Spotlight Small with DIY gobo;
2. background light: Profoto D1 Air 500W into standard reflector, gelled;
triggered via Profoto Air Sync.
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
Lighting setup & settings info: CLICK HERE! to see the full article!
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Strobist info:
Bare Canon 580EXII in a 80x60 Softbox - Camera right
Nikon SB-26 with a CTO filter (I think it was a 1/2 cto) behind her
Canon flash is triggered by a Pocket Wizard II Plus, and the Nikon flash behind her is triggered by optical slave from the Canon flash
Golden Hour
Lighting here was made of 2 strobes, one as a main light for the model, and the other to add some sunset mood with some orange tones! So as the main light, I was using a Canon 580EXII in a 80x60 Softbox, which I'm using on location quite often! Also behind her I decided to put some orange filtered flash, as the sunset did not bring any rays of light to the place where we were! I wanted to have some orange tones in her here, so that was the way to do it! As a flash I was using a Nikon SB-26, pretty handy with the Optical slave feature, considering that I had only a pair of Pocket Wizards available at that time! Lighting setup & settings info: CLICK HERE! to see the full article!
iPhone photo of setup for beauty shot.
Resulting image (below): www.flickr.com/photos/martinwilmsen/18189536463
44cm white beauty dish with silver deflector above camera. Silver reflector underneath model's face. Stripboxes left and right rear for rim (one with a lighttools grid on it). Small spot with grid on the backdrop. Black fabric panels on either side of the model.
Setup for waterfigures. The upper spreaker is the dropcontroller. This dropper give a second drop via an audio waveform on the speaker. Control of this timing via a second laser detector just under the dropper. Multiple flashes are used, 5 max for the forground, one for the background. Background can be changed via a colored A3 paper. Different tools can be added, a color injector stay more on the foreground and is controlled via a magnet drive system. This color injector can inject a few paint drops into a falling drop to merge and to form multiple gradiend colors on the splash. On the bottom a second speaker system is used for the waterfigures. Splashes and waterfigures and color injection can be merge together. On the leftside stay a projectiel tool to fire a small iron item through the falling droplet. Ofcourse all this parts are homemade including the hardware controller ( not to seen into this picture). The camera is the D200 nikon driven also by the controller. 2 lasers are used for detection to give the controller the information for all delay's and timings. All timings are digital at a resolution of 1 to 100 usec at 4 digit/ delay unit. Delays are entred via the keyboard but preset by poweron at the best default time. Some values are drive by 2 rotary encorders to change fast the value.
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.
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
a fun studio shoot with my old childhood playmobil.
to see how i shot it, check out the "setup" version of shootout.
strobist:
1 travelite 375 behind yellow backdrop paper to create the sun.
1 travelite 750 below the table lighting the backdrop to fill in the sunset
1 travelite 750 on very low power with a snoot above and to the right to light the main action.
Olympus OM-2 | Fuji Velvia 100 | ISO 125/21° / expired 2017.07
Weitere Fotos dieser Serie auf meinem Fotoblog
Simple setup for the Unit 3.1 exercise in Strobist's Lighting102
Montaje sencillo para el ejercicio de la unidad 3.1 del Lighting102
This was a setup I tried a little while ago, but am just now posting. Tell me what you think! I am eager to hear what others think about these kind of setups.
Thanks for viewing and I'd appreciate a comment over a favorite. ;)
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.
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! :-)
Setup for this shot : www.flickr.com/photos/balakov/3812884634/
So I cheated a bit in photoshop with this one.
Because there was so much twine to remove in this shot I took a separate shot of the background on its own to help with the cloning.
Patience was required.
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
Set up shot for Viru beer. I couldn't get far enough back to show the whole set up in one shot, so it's a badly stitched composite. Things are a bit screwy on the right hand side of the picture.
The setup for the picture of the flowers. The only thing different is that the transmitting Pocket Wizard is on the camera taking this picture rather than the camera that took the final picture of the flowers.
You can see some setup shots for other images here.
This was one of the most interesting photos of February 17th, 2008.