View allAll Photos Tagged translum
Since I had the stuff out to make the steam and I am still on a Dark Field lighting kick...
Strobist Info:
Einstein E640 at 1/4 power through translum behind the subject.
Black paper placed behind subject for black background.
I was feeling the need to feed my inner pyro… I was inspired by another photo here on flickr – it is in the comments below.
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Einstein E640 at 1/8th power, 7” reflector with 10 degree grid through translum behind subjects.
This image was a composite of 5 images to add some motion to the flames. The flames burned in a very columnar fashion and looked very static in the individual shots.
Stripbox behind translum camera right for graduated shadow. Bare stripbox camera left for hard highlight. Lots of cleaning up between shots to keep the chosen image clean.
One light behind translum for the background spot. 60° Gridded light camera left for lighting the apple and splashes. Reflector camera right to fill the shadow.
Jesse's lockdown photos: this week... I have bin mostly... setting things on fire.
Swapped out the usual glossy black acrylic base, for a sheet of polished steel.
Note: don't try this unless you have done your research, and have a fire extinguisher to hand.
Strobist Info:
Einstein E640 at 1/4 power with a 7” reflector through translum behind the subject.
Black card between subject and translum for dark background.
Five shot composite of five images to get the smoke the way I wanted.
Radial gradients projected onto a Savage Universal Translum screen, reflected in water and a nice elegant bottle. I poked the water with the blunt end of a pencil to create the ripples.
BTS video now up here:-
I noticed that many of the splashes were jumping out of frame with the horizontal composition, so I gave a vertical shot a try... On the first try I got water on one of my lights and had to stop... Too bad the Einsteins aren't weather sealed...
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Einstein E640 at 1/16th power w/ 7” reflector and 30 degree grid behind glasses through translum.
Einstein E640 at 1/64th power w/ 7” reflector behind the gridded light to lighten up the background.
Einstein E640 at 1/64th power w/ 7” reflector and 40 degree grid above and behind glasses to put highlights on the water.
One light triggered with a MIOPS smart trigger in laser mode and the other two on optical slave.
I saw this video from Photigy and thought I'd give it a try. I will save the bubbles for another shoot...
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YN-560EXiii below table at 1/2 power with a blue gel pointed at the background.
YN-560EXiii at 1/8 power behind backdrop (translum).
Subject on black plexi for reflection of the subject and background.
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Einstein E640 at 1/64th power through translum behind subjects.
The camera is pointed down at the black plexiglass surface which is reflecting the light shooting through the translum.
These looked good as I was walking through the produce section.
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YN-560EXiii at 1/2 power from behind through translum for back light and gradient.
White cards left, right, and above subject.
YN-560EXiii at 1/64 power bounced off the front of the camera left card for fill.
7 image focus stack.
The bartender must go insane :-). This is a composite shot, one for each color, but all exposures and setupa are exactly the same.
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Einstein E640 at 1/8th power, 8" reflector, through translum behind subject.
Black cards on both sides of the glass to help separate it from the background.
20mm Extension tube.
Just got back from the Polar Express in Williams Arizona and these are a few of the momentous from the trip.
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Einstein E640 at 1/2 power with a 7” reflector and 20 degree grid through translum above subjects.
Strobist Info:
YN-560EXiii behind the subject through translum.
Black cards left, right, and above subject for edge definition.
Glasses are on white plexi to help hide the horizon line.
Not a bad first attempt, but I am still trying to figure out how to eliminate the reflection of the surface the subject is sitting on...
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Godox AD-360 full power in an Apollo softbox, shot through translum, camera right.
White reflector card camera left.
Small mirror used to highlight the top of the bottle.
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YN-560EXiii at 1/4 power through translum behind the glass.
Glass is sitting on white plexi for reflection and gradient.
This is a focus stack, made from someting like 45 or 50 shots.
The light? Bit hard to explain. Two Neewer LED Lamps, one from above, with a piece of translum foil wrapped around. The other shining as backlight, also through translum foil.
Trick is, that in the translum foil of the upper one, there sit also two black cardboard pieces, forming just a little soft slit of light ...
So... I'm a better photographer than a painter... Does anyone know how to stencil something like this before adding the water?
I saw a similar photo on Flickr somewhere - as soon as I can find it again I will link back.
Strobist Info:
YN560EXIII full power behind subject through translum
No glasses were harmed in the making of this photograph... But I think I will send a few to meet their maker in the next week or two :-)
Original inspiration was here.
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Einstein E640 at 1/64.5 power through tracing paper onto translum background.
Einstein E640 at 1/16th power in an apollo softbox above and slightly behind the cup.
Camera triggered with TriggerTrap Mobile sound trigger.
One flash triggered via PC Sync from camera, the other was an optical slave.
Strobist Info:
Einstein E640 at 1/8th power, 8" reflector, through translum behind subject.
Black cards on both sides of the glass to help separate it from the background.
20mm Extension tube.
Hey MIOPS guys... A cable that triggers an Einstein directly would be really great :-) I have to trigger an YN560EXIII and use the optical trigger on the Einsteins... Not a great solution, but it works.
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Einstein E640 at 1/32.9 power 7" reflector with 20 degree grid through translum.
Einstein E640 at 1/16 Power 7" reflector with 10 degree grid above and behind glass.
Flashes triggered with MIOPS laser trigger.
One Lencarta Superfast 600 behind a heavyweight Translum screen, wearing an Aputure Fresnel attachment to create a radial gradient. I use this rather than a grid as it allows me to control the fall-off for a given size of spot, plus, unlike a grid, which blocks and absorbs the light around the edge to create the fall off, a Fresnel lens focuses the light towards the centre - so you keep almost all of the light, just in a different pattern. This becomes important for motion freezing work like this as you need to keep the flash output low: these IGBT controlled lights reduce their output by shortening the duration of the flash. The SF600 is on 5.5 here - ie only half a stop above minimum power, so the flash duration will be in the 1/10000th of a second region.
A few lessons learned:
-Make sure the glass is clean!
-Add a little rubbing alcohol to the water to reduce the surface tension - it keeps the water from climbing the sides of the glass.
-Getting the line on the background and in the glass lined up can be time consuming if you are moving your glass and recomposing in the frame.
-Use a really nice glass - you can see the warping in the glass in my photo. These were from Walmart...
-The black card at camera right is visible on the left side of the glass if you get it too close. This becomes a balancing act as it doesn't do its job rimming our the glass if it is too far away.
Strobist Info:
Godox AD-360 at 1/2.3 power in an Apollo softbox shot through Translum behind the glass.
Black card behind the glass to create the black section - it is easier to compose the glass in your frame and move the black card until it runs through the center of the glass.
Black card camera right to help outline that side of the glass. The closer this card is to the glass, the less white shows on the left side of the glass.
Post:
Pulled the blacks down and pushed the whites and cleaned up some dust. I also removed the black card at camera right. it had to be in the frame to do its job correctly. Maybe a larger one could be further away from the subject.
Strobist Info:
YN560EXIII 1/4.3 power through translum behind subject.
Copy paper reflectors left, right, and above the pawn closest to the lens.
This is the second time for an image like this. Applying some of the things I learned the last time, I used a nicer glass, moved the black card on the white side of the image further away, and left the alcohol out of the water because surface tension was not a problem this time.
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Canon 580 exii at 1/4 power with blue MagGel and Rosco #360 behind and camera right.
YN-560EXiii at 1/2.3 power behind subject and camera left.
Both lights shot through translum and separated by a white foam core board. The dark line between white and blue is the card. I tried moving the separator board away from the background, but it created a funny not so white line which was pretty ugly. If I had used a thinner material the line would not be as noticeable. Maybe using a shallower depth of field to blur the line would have worked too.
Hey MIOPS guys!!!!! Can you answer my forum post about a cable to trigger an Einstein directly? It is a real pain in the butt to have to trigger a speedlight just to set off the studio strobe...
Strobist Info:
Einstein E640 at 1/16th power behind the subject through translum.
Black paper between the glass and translum for black background.
Triggered with a MIOPS trigger in laser mode - 200ms delay.
Round 3 of the flaming glass... I finally got around to redoing this shot and found that the wierd lines in the liquid holding portion of the glass had to do with how close the glass was to the background. I moved the glass a little closer to the background and they went away.
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YN560EXIII 1/8 power through translum behind subject with a blue gel.
Black card behind subject for black background.
The flame is from liquid lighter refill floating on the glass full of water.
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Snooted YN560EXIII at full power through dual layer tracing paper translum behind subjects.
White reflector above subjects for a little fill.
Testing my new little Manfrotto LED Light ...works like a charm!
LIGHT
Manfrotto LUMIMUSE 8 LED , shining through a piece of translum foil with little cut-outs. From the other side, a piece of crumpled tinfoil as reflector. The light setup is a bit hard to explain --- I will post the setup in the blog the next days (www.fotopraxis.net).
CAMERA
5DMk III with EF 70-200 f/2.8 at f/2.8, 120 mm, 1/60 sec, ISO 640, handheld, Raw, whitebalance manually set for a cooler tone (sth like 3600 /-2 or so).
More on this image at kidona.com.
A composite of several images, but essentially the bottle and surface were married with the splashes. Lighting for the bottle image can be found here.
Splashes/strobist: Elinchrom ELC Pro HD 500 and reflective silver umbrella behind a Translum scrim, at "3.0" (in Elinchrom-speak). At ISO 800, this yielded an exposure of f/11. Quadra "A" head in 5" reflector/diffuser, at minimal power (0.4 in ES) also around f/11. I under-exposed the shot by 1 2/3 stops though to help the water (food colored blue) to stand out.
Triggered by Skyport.
PP in PS/CC 2015
© Donald J. Fadel, Jr. | kidona.com
Since my cousin thinks that good stories *can* start with "We were doing shots..." I poured another round...
Strobist Info:
Einstein E640 at 1/16th power with an 8" reflector through translum behind subjects
Still trying to get my money's worth out of the shot glasses. These things photograph really well and have minimal flaws. They came from Amazon...
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Einstein E640 at 1/2 power with a 10 degree grid through translum behind and above subject.
The hot spot is actually the reflection of the light pattern from the translum on a black plexiglass surface.
Well almost... From the King's position the four dark pawns would not have lined up so well...
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YN560EXIII at full power behind subject(s) through translum.
White reflector above and in front of white chessmen.
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Einstein at 1/16th power through translum behind subject.
Impace surface is a cookie sheet filled half way with water.
This was an experiment that went better than expected... This was one of the test shots before I put a better glass in the frame, but I had an "equipment malfunction" and ended the shoot with glass all over the garage floor... I will try it again tomorrow and hopefully the Martini glass won't end on the floor too.
Strobist Info:
YN560EXIII at 1/16 power behind subject through translum.
White card behind subject for background.
Strobist Info:
YN560EXIII at full power behind subject(s) through translum.
White reflector above subjects.
Round 2 of the flaming glass...
Strobist Info:
YN560EXIII 1/8 power through translum behind subject with a blue gel.
Black card behind subject for black background.
The flame is from liquid lighter refill floating on the glass full of water.
*Update*
It looks like I'm going to give this a third try. Last night I didn't notice that the PVC pipe stand is reflected in the glass. Thought it was just the cheap glass warping the light. Looking at it closely I can see both the horizontal and vertical pieces of pipe that are supporting the glass surface. Come to think of it, I think I see the edge of the glass surface too... Another excuse to play with fire :-)
I tried one of the crash shots with "unbreakable" glasses I found on Amazon. They didn't break, but they did a number to the plexiglass below them. They also bounced erratically so I had a hard time timing the lights... Even with a trigger.
Strobist Info:
Einstein E640 at 1/16th power w/ 7” reflector and 30 degree grid behind glasses through translum.
Einstein E640 at 1/64th power w/ 7” reflector behind the gridded light to lighten up the background.
Einstein E640 at 1/64th power w/ 7” reflector and 40 degree grid above and behind glasses to put highlights on the water.
One light triggered with a MIOPS smart trigger in laser mode and the other two on optical slave.
This shot is inspired by Bill Young and Brian Gudas. The point is to add some background to a dark field image. I also played around with the white balance to get the color ob blue I did.
Strobist Info:
YN560EXIII at full power through translum behind the subject with 3/4CTO gel.
YN560EXIII at 1/64 power under table for background color.
Background is a white card taped to the translum.
White balance set to tungsten.
Tabletop home studio shoot
Strobist:
- YN560III (1/16) on the left, diffused by savage translum foil (140x100cm);
- YN560III (1/16) on the right, diffused by savage translum foil (140x100cm);
- YN560III (1/8) on top, diffused by savage translum foil (100x60cm);
- YN560III (1/32) with rogue grid on the background;
Background: Colorama Colormatt, Coal;
Processing:
4 images with water splashes.
1 image in higher light power without splash (subject only)
All the photos blended in PS on layers with masking. Added vignetting and final touch-up.
Images with details in first comment.
Strobist Info:
Einstein E640 with 7" reflector w\ 20 degree grid through translum for light "halo" behind subject.
Einstein E640 with 7" reflector further behind translum to help ease gradient.
Einstein E640 with 7" reflector w\10 degree grid above and slightly behind the glass to make the flying droplets sparkle.
All flashes triggered optically with a MIOPS Smart trigger. Since the shutter lag on my 5DII is horribly slow, I tether the trigger to a YN560ex3 and let it trip the three Einsteins optically.
The second falling ice cube is composited in. On one of my attempts the falling cube bounced off the rim of the glass - that is where it came from. It is also easy to adjust the delay on the MIOPS trigger. By changing the delay in milliseconds, you can catch the cube in any position.
...with many moments of attempts.
strobist info:
FJ 400 bare bulb behind Translum scrim
FJ 400 with mini softbox camera left for bottle label
This is my take on an idea from Gavin Hoey. If you are new this photography thing and looking for ideas and great explanations on how to execute them, Gavin is your man. Check him out at Adorama TV. The original video that inspired this shot is here.
Strobist Info:
Splash: Einstein E640 at 1/16th power, 8" reflector w/ 30 degree grid behind bowl through translum
YN560EXIII at 1/32 power above and behind bowl
Triggered with a MIOPS trigger in laser mode - using a laser pointer is a pain...
Fish: Moved the YN560EXIII in front of the bowl to light the front of the fish
Everything else was the same
Well if Johnny Depp can bury his jewellery in the desert for no apparent reason, in the name of after-shave, here's a bottle in a puddle opposite the City of London. Well not really: I shot this in my little studio by projecting an image I took from half way up the Shard in London, onto the back of a Savage Universal Translum screen. Doing this in a dark room allows me to control the exposure of the projected reflection using the shutter. The main light on the bottle is the same as before - bare head wrapped in tracing paper right up against the back of the same Translum screen.
Oh - and I poked the water with a stick just before taking the shot to make some ripples (single shot - no focus stacking in this test).