View allAll Photos Tagged translum
Strobist Info:
Einstein E640 1/32.5 power in a strip box camera left at 11:00.
Einstein E640 1/2.6 power in a srip box through translum camera right at 2:00.
Einstein E640 1/2.5 power in an Apollo softbox through the same translum to help with gradation.
Tin foil was used as a reflector at camera left to fill in label.
Sprayed the bottle with deodorant as a surface duller to soften the lights further.
Strobist Info:
Godox AD-360 1/2 power in an Apollo softbox shot through translum camera right.
White reflector camera left.
I may have gone a little overboard with darkening the background in post...
The Ghost timepiece from Creux Automatiq.
I recently made a video tutorial on how to this kind of lighting, check it you in my youtube channel with other free tutorials:
Strobist info:
Strobist info:
Studio strobe with reflector dish back right of subject thru gobo @ 1/8
Studiostrobe with reflector dish camera left thru translum @ 1/8
White cardboard for bounce card
This shot was inspired by the cover of "Lighting for Product Photography" and used the dark field setup described in "Light Science and Magic."
Strobist Info:
YN560EXIII full power through translum behind subject.
Black paper taped to translum for background.
Snooted YN560EXIII at 1/16 power on background for lighting behind glass.
Snooted YN560EXIII on orange peal to brighten it up.
The black background and spot removal performed in Lightroom/Photoshop.
I've seen these done several times and took a crack at it. The big lesson learned was that when shooting the glass at an angle, an appropriate depth of field is impossible to maintain. The splashing water was moving toward the camera which also made it darker as it moved away from the background.
Strobist Info:
Godox AD-360 with dome diffuser shot through Translum at 1/32.7 power
STROBIST
One single speedlight, shooting half through translum foil and half direct...so you have a hard and "sunny" mainlight and a soft fill, with just one flash.
Works fine, but you have to spend some time to adjust the angle of the flash (= the ratio of soft fill and hard direct light)
RESULT
STROBIST
One single speedlight, shooting half through translum foil and half direct...so you have a hard and "sunny" mainlight and a soft fill, with just one flash.
MAKING-OF
www.flickr.com/photos/galllo/14473514984/in/photostream/
NICER VIEWING
... of the "good" shot
www.flickr.com/photos/galllo/14494871973/in/photostream/l...
I managed to use my old Leica/Panasonic compact cam D-LUX 2 with off-camera flash ... phew, not easy, took my quite some experiments, but then it worked with the sunpac trigger DSU-01.
STROBIST
Old Leica compact cam + Sunpac slave + YN-602 transmitter on the slave + one speedlight behind a translum foil to the right side and a simple piece of paper for fill on the left side.
Another attempt at a dark field image with blue background. I don't think ti turned out near as well as the first try...
Strobist Info:
YN560EXIII full power through translum behind subject.
YN560EXIII 1/32 power with 3/4 blue gel for background color.
Background is a white card taped to the translum.
Just playing around with the scrim I made a while back. It's roughly 1.5x2m with a frame made from 21mm plastic waste pipe (B&Q sell this along with all the corners, T pieces, 45 degree corners etc to make any kind of frame you want). The surface is Translum plastic which is made by Savage. You can buy it on a roll 1.5m wide. The idea is to project light onto the scrim so that it drops to nothing before it reaches the edge of the scrim - and so there's no edge visible.
The trick here is that we see the blue ball reflected in the shiny black perspex surface. It's being generated by a Lencarta SF600 with a 30 degree grid and blue gel. Now, of course this blue light also shines on the chocolates; and I don't want blue chocolates. So they are lit from the side by a 50x90cm soft-box on another SF600. This is turned up enough to wash out the blue on the chocolates. It doesn't show up in the black perspex surface as it's an almost perfect mirror, and that light is not visible in it.
I also have a low angled snoot on a 3rd SF600 from the front/left to eliminate shadows caused by the leftmost chocolates on the ones to the right. This light doesn't show up in the black mirror surface either - so that remains blue as only the blue light from above is seen by the camera reflected in the perspex.
Note: I saved these chocolates from last Xmas - and we've moved house since then. I've been meaning to shoot them for 10 months as I thought they looked good and tbh, they don't look too good now. I'll try this again with some new ones soon :)
STROBIST
One single little flashgun. :-) Above the scene, shooting through translum foil. Directly above the jewelry I placed a little black flag to get a dark background. The bracelet is sitting on a mirror.
SETUP
www.flickr.com/photos/galllo/11274245414/in/photostream/
TRICKS
I used focus stacking ... four shots.
Regarding the reflection: hm, yes, I am aware of the double reflections, that a simple mirror delivers. But anyway, these mirrors simply give the most intense reflection. So I chose the simple way and blurred the double reflection a bit in Photoshop.
And for perfectly sharp shots, I used 10x zoomed liveview in combination with manual focusing, and then I shot using the 2 sec timer. On my Canon cams, I have to switch to P mode to trigger a good preview for focusing and then I have to switch to M again to shoot.
PHOTOSHOP
Path for the bracelet, isolating the bracelet, blurring the background and the reflection. Cloning-out stuff, contrast and color correction, vignette, output sharpening. The focus stacking was by far the least time-consuming step. The path took most of the time ...
NICER VIEWING
"L" for Lightbox, "F11" for Fullscreen viewing.
Taken with iPhone 6
Red Head 800w through translum diffusion roll to create gradients.
White reflector to create lines on the sides.
Red Head light behind the objects for dramatic shadows.
4th week in my lecture at the University of Aschaffenburg:
Today the students had to set-up two flashes, and had to use a lightmeter to meter the main light (using light metering) and the backlight (using contrast metering, on +1 EV).
STROBIST
First speedlight sits in a little flashdisk (from the FStoppers), second speedlight shoots through a large piece of translum foil , as a quite bright and wrapping backlight. Both: YN-560 IV, triggered via YN-602.
EXIF
Canon EOS 500D with Tamron 18-270 on f/8 and on 65 mm, ISO 400, 1/160 sec. JPEG, WB on flash.
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And these little buggers are expensive too...
Strobist Info:
YN560EXIII at full power through translum behind subject.
White reflectors left and right, and in front of subject.
Subject on black plexiglass for background gradient and reflection.
One of my daughter's Easter treats came in this little guy. The reflective surfaces were a real pain to shoot and I couldn't keep them from being blown out.
Strobist Info:
YN560EXIII at 1/8 power through translum from behind subject.
white cards left, right, and above subject.
YN560EXIII at 1/2 power camera left at 7:30 bounced off of right card.
YN560EXIII at 1/4 power camera right at 4:30 bounced off of left card.
Projecting a pattern onto a screen made of Savage Translum plastic suspended over a glossy black acrylic panel covered in water (held in by gaffer tape around the edges). Another screen made of tracing-paper to the left has a ball of orange light projected onto it. The ripples are made, by dropping the bottle from about 5mm height. I used Control My Nikon with sound triggering to take the shot from the sound of the bottle hitting the acrylic panel.
Lights: Lencarta 600SF super-fast heads.
Projection attachment from Pixapro, using one of their GoBOs.
The light on the left has a full cut of CTO in it, with the camera set to incandescent white balance to normalize it. This has the effect of making the back light blue. I didn't want to colour the back light blue directly, as it was already at full power due to the amount of light the projector loses.
I use a 100ml syringe to fill the "pool" around the bottle. Really useful for precise placing of water too, and, for sucking the water back out again when you're done :)
Strobist info:
Small stripbox at an angle on both sides @ translum diffusion panels. Elinchrom ELC1000 with gel aimed at black paper background. Nikon SB900 in optical slave mode with grid above and in front of subject. 2nd Nikon SB900 behind bottle. Black plexiglass surface.
BTS photo here www.flickr.com/photos/martinwilmsen/36830456426
It is that time of year again and this is one of our new Halloween decorations. Thank God the Christmas stuff isn't out yet...
Strobist Info:
Einstein E640 at 1/8th power behind subject through translum.
Black card between subject and background so there is only a rim light.
I used an adjustment brush in lightroom to turn the white parts of the skull blue.
The light in the eyes/nose/teeth are from built into the skull.
More on this image at kidona.com.
Strobist: 2 lights. ELC HD 500 in a large softbox behind a translum scrim, camera left, as key, f/5.6. Another 500 in a gridded stripbox, camera right and behind, also f/5.6.
Triggered by Skyport Plus.
PP in LR/PS CC 2017
© Donald J. Fadel, Jr. | kidona.com
More on this shot at kidona.com.
Strobist: 3 lights. B800 with a blue gel for background through Translum, coupled with an Elinchrom ELC Pro HD 500 on a snoot and a homemade gobo. Another HD500 on a 10º grid, camera left and behind. White reflector camera right. Triggered by Skyport.
PP in LR5/CC 2014.
© Donald J. Fadel, Jr. | kidona.com
More on this image at kidona.com.
Strobist: Exposure is at f/22. I didn't record individual settings of the 3 strobes used in this image. The BG light is an Elinchrom HD 500 with a red gel in the background reflector through a sheet of Translum. A Quadra "A" head in the PortaLite is overhead, backlighting the subject. Another HD500 in a 36" strip box, camera right.
PP in LR5/CC 2014
© Donald J. Fadel, Jr. | kidona.com
I use this as a post-workout drink and love it. So in homage, I made this product shot.
Strobist: 3 lights. 2 Elinchrom HD 500's in 30" strips through translum diffusers, right and left and behind, f/11. There's also a Quadra in the background providing a gradient, though the background here is done in post. A large "M" reflector provides label fill.
Triggered by Skyport Plus.
Chocolate splash is stock.
PP in LR/PS CC 2017
© Donald J. Fadel, Jr. | kidona.com
iPhone setup shot.
Rotalux stripbox left and right through translum diffusion panels. The stripbox on the right has two blackcards attached so that the light hits the bottle only.
Gelled Elinchrom ELC1000 rear aimed at black paper. SB900 sitting on top of the ELC1000 aimed at the back of the bottle. SB900 with grid above/in front of bottle.
The colored lens filters show up Tuesday night... Let the light painting begin.
If you like what you see, you can get one at AMAZON.
The colored lens filters are HERE.
Two things I learned:
1. The chromatic aberration removal tool in LR only works on hard edges - streaks and dust in the flashlight's beam were all purple and green because they were out of focus.
2. If you are going to use an older piece of plexi, be prepared for spot and streak removal hell... It took me an hour and I had to mask in a blurred layer when the major "chunks" were taken care of.
Strobist Info:
Einstein E640 at 1/8 power with an 8" reflector behind subject through translum. The light was offset to camera right to highlight only the corner.
White copy paper reflector in front of subject.
This is a two shot composite... I could not get the fill on the flashlight I wanted and keep the reflector out of the shot. The two images in the composite are below.
We still have a hundred or so of these things on our trees...
Strobist Info:
Einstein E640 at 1/4 power behind subjects through translum.
YN560EXIII at 1/2 power in a lumiquest softbox above and in front of the subjects.
Some days your the king, and other days the pawn...
Strobist Info:
YN560EXIII through translum behind subject.
Black card behind pieces for background.
White copy paper reflectors left and right to extend the edge definition.
black flags for flare control.
Glass is far easer to backlight than side light...
Strobist Info:
Godox AD-360 with dome defuser at 1/16.3 power shot through Translum behind the blass.
Food photos for Viva -- btw a great restaurant in Aschaffenburg, worth trying: www.viva-ab.de/index2.html.
Setup used, cmp. setup shot and notes there. Summary:
Two speedlights, on in silver umbrella, one trough translum foil. Little mirrors for highlights.
The speedlights are triggered via Yongnuo 602 RF triggers.
I used a superzoom 18-270 in the tele range (therefore the ladder), but would go for a prime the next time, I guess.
Two purple glasses stacked on top of each other.
There is a video of the behind the scenes here youtu.be/yNfSnxhHPA8
Black duvetyne (also called commando cloth) for the background.
A sheet of Savage Translum waterfalled to the right and left of the glasses
A medium strip box angled in from behind to create the gradient on the left and a medium softbox angled in on the right for that gradient. Some flags made of cardboard to keep flair from my lens.
The glasses were held on a light stand via a baby plate.
The strobes were a Profoto Acute2 1200 pack and Acute D4 head.
Lots of grip in this photo. It is a stand consuming photo.
More on this image at kidona.com.
Strobist:
Left Image: 3 lights. 2 ELC HD 500 in strip boxes and through Translum scrims, right and left, f/11. Bare bulb B800 through scrim for background, 1/2 power.
Right image: 3 lights. An ELH HD 500 in a stripbox, camera right and above, f/11. Barebulb B800 through Translum as the background, 1/2 power. Gridded SB-28 to light the eggs, camera left, 1/16 power.
Triggered by Skyport Plus.
PP in LR/PP CS 2017
© Donald J. Fadel, Jr. | kidona.com
Instead of a white paper seamless background I tried out some translum lit from the back. Gridded octabox boomed from above and a scrim camera left low for fill.
I'm officially addicted to shooting glass objects...
Strobist Info:
YN-560EXiii at full power through translum behind subject.
Black card above subject to deepen shadows.
Subject on white plexi for the reflection and slight gradient.
More on this image at kidona.com.
Strobist: 3 lights. The key is provided by a reflector, camera right. It's light source is Quadra "A" head w/ 5" reflector through a translum scrim, camera left, which provides the highlight along the (camera) left edge in addition to filling the reflector. There are 2 ELC 500s coming through another translum as background, stacked, the upper with a blue gel and the lower a yellow. Exposure is at f/5.6.
PP in LR/PS CC 2017
Triggered by Skyport Plus.
© Donald J. Fadel, Jr. | kidona.com
Background is translum lit from behind + 1/3 stop for pure white and a single white 22" beauty dish without grid boomed high camera right 8' out for almost flat lighting (best to showcase wardrobe).
They say that you should photograph things that you care about, so I'm happy to try and document some of the good beer that's available these days. This is Stone IPA which is my current go-to beer.
Lighting stuff: This is another attempt at lighting glass, which I find to be very difficult, due to the reflections. What little I've learned has come from the book "Light Science and Magic - An introduction to Photographic Lighting" which has an entire chapter devoted to this difficult subject. I've just acquired a roll of translum, and I place a sheet of it behind the bottle with a small black card (a little bit bigger than the bottle) between it and the bottle. I then fired a bare Yongnuo through the translum. This created the rim lighting. The lighting on the front of the bottle came from a two Yongnuo strobes in 24 inch softboxes placed on either side of the bottle in an attempt to create even balanced lighting. I still ended up with a fair amount of specular highlights, and spent some time in post cleaning it up. The strobes, in manual mode, were triggered by a Yongnuo RF-603N. On the plus side, even if the picture isn't great, I did get to drink the beer.
Other pictures that I've taken of beer can be seen in my cleverly titled Beer album.
Instead of a white paper seamless background I tried out some translum lit from the back. Gridded octabox boomed from above and a scrim camera left low for fill.
Strobist Info:
YN560EXIII 1/4 power through translum.
Reflection on white plexiglass.
Subject is a cutout taped to the back of the translum.
I love the point in a shoot when a model gains her confidence and freeforms like a pro. First-time model Ivory is rocking her shoot :-)
You never know who is sneaking up on you...
Strobist Info:
Snooted YN560EXIII at full power through dual layer tracing paper translum behind subjects.
White reflector camera left and right.
Strobist Info:
YN560EXIII at full power through translum behind subjects
YN560EXIII at full power at 3:00 through dual layer tracing paper
YN560EXIII at 1/16 power in a LumiQuest softbox at 7:00
4x5 Large Format - Busch Pressman D. A 1950's press camera made in Chicago with a New York lens.
Shot through a scrim made from a material like Savage Translum on a Speedotron 1205 CX with a 102 Head.
Finally, I managed to use my old Leica/Panasonic compact cam D-LUX 2 with off-camera flash ... phew, not easy, took my quite some experiments, but then it worked with the sunpac trigger DSU-01.
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STROBIST
Old Leica compact cam + Sunpac slave + YN-602 transmitter on the slave + one speedlight behind a translum foil to the right side and a simple piece of paper for fill on the left side.
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MUCH NICER VIEWING
www.flickr.com/photos/galllo/12978433783/in/photostream/l...
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NOTES
As you might have thought already, the bottom one is shot with the internal flash of the Leica camera. :-)
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~gallo~
Instead of a white paper seamless background I tried out some translum lit from the back. Gridded octabox boomed from above and a scrim camera left low for fill.
My copy of Light Science and Magic, 5th Edition, showed up yesterday. In its honor, a classic dark field lighting setup. An two poor wine glasses that have yet to see a drop of wine...
Strobist Info:
YN-560EXiii at full power shot through translum.
Black paper was taped to the translum as a gobo and background.
This is also a two shot composite - one of the glass in each orientation.
Strobist Info:
YN560EXIII at full power behind subject through translum.
Black paper behind subject for dark background.
My wife got me five of these for Christmas and they sure work well. I'm far happier in the morning when I am properly caffeinated...
Strobist Info:
Godox AD-360 in Apollo Softbox at 1/2 power shot through Translum camera right
White card reflector camera Left
Yn-560EXii as left rim at 1/128 power
Canon 430EXii 1/8.3 power through Sto-Fen and Rosco 1/8 and 1/2 straw gels at grey background