Chuck, you and others are quite welcome. My apertures are all over the place depending on what I want in focus. Remember wide open = shallow depth of field and a closed or small fstop = greater area in focus. Aperture also depends on how much light you have to work with. Sometimes you have to do 2.8 or wider.
Most of my portrait work is about f8-f9 in the studio. Outside it all depends on light. If I've got a great sky I underexpose it with maybe f16 or 22 then use a flash for the subject. If it's a dark alley I could be 2.8.
My favorite lens is the 70-200 2.8. But I use that because at times I hate to admit it I'm lazy and don't want to move up or back. I'm trying to use the 85 1.2 and the 135 2.0 more because they are really tack sharp and great light gathers. Hope that helps.
Chuck, you and others are quite welcome. My apertures are all over the place depending on what I want in focus. Remember wide open = shallow depth of field and a closed or small fstop = greater area in focus. Aperture also depends on how much light you have to work with. Sometimes you have to do 2.8 or wider.
Most of my portrait work is about f8-f9 in the studio. Outside it all depends on light. If I've got a great sky I underexpose it with maybe f16 or 22 then use a flash for the subject. If it's a dark alley I could be 2.8.
My favorite lens is the 70-200 2.8. But I use that because at times I hate to admit it I'm lazy and don't want to move up or back. I'm trying to use the 85 1.2 and the 135 2.0 more because they are really tack sharp and great light gathers. Hope that helps.
Thanks Hack. I'm a fan of 1.4-2.8 but sometimes it's really tricky when the model is moving. I agree that the primes are pretty sharp but I only have one, the 50mm. That lens tends to round the faces too much for my liking. 85 1.2 is a beast, would love to own one day and the 135 macro is at the top of my reasonable wish list.
Great work and again, much thanks.
Chuck, you and others are quite welcome. My apertures are all over the place depending on what I want in focus. Remember wide open = shallow depth of field and a closed or small fstop = greater area in focus. Aperture also depends on how much light you have to work with. Sometimes you have to do 2.8 or wider.
Most of my portrait work is about f8-f9 in the studio. Outside it all depends on light. If I've got a great sky I underexpose it with maybe f16 or 22 then use a flash for the subject. If it's a dark alley I could be 2.8.
My favorite lens is the 70-200 2.8. But I use that because at times I hate to admit it I'm lazy and don't want to move up or back. I'm trying to use the 85 1.2 and the 135 2.0 more because they are really tack sharp and great light gathers. Hope that helps.
Thanks Hack. I'm a fan of 1.4-2.8 but sometimes it's really tricky when the model is moving. I agree that the primes are pretty sharp but I only have one, the 50mm. That lens tends to round the faces too much for my liking. 85 1.2 is a beast, would love to own one day and the 135 macro is at the top of my reasonable wish list.
Great work and again, much thanks.
'The black on the floor is a roll of slatted bamboo that is I guess glued together and can be rolled up. The background are freedom clothes from Denny.
I've been searching for quite some time to find a speedlite modifier that was small, round & fairly compact. I recently purchased the Honl Traveller 16; the build quality is great, it produced great light (fairly soft transition from light to shadow) but simply wouldn't hold its shape. Then I remembered that my Calumet strobe came with a reflector that maybe I could modify somehow. I placed my Gary Fong Lightsphere inside & voila, it fit! I threw it on a speedlite, fired off a few shots & was pleasantly surprised at the spread of light. My willing (actually unwilling) daughter, posed for a few shots. A photographer (whom I admire) once told me that even light is great, but a slight gradient is more pleasing for portraits. I think this may work (BTW image is SOOC). No ambient light other than a little daylight spill from through the blinds on the door. The only thing I'd change would be to move the other 580EX II (rim) to maybe 60 degrees vs. 45. Any suggestions would be great!!! Charles, I hope you're reading this one! Thanks!
Travis M. Chance
twin Mark IV's & a bunch of "L" glass site ∙ facebook
#1
Single light setup (no reflector for fill or speedlite providing rim lighting). The Honl Traveller 16 was used (above & camera right). Nice gradient & perfectly round catchlights! Just wish the damn thing would stay attached to my strobe (it would then be the perfect modifier as it folds up nicely).
#2
Back to the Gary Fong Lightsphere + 7" Reflector setup. This time, I have a 580EX II mounted on the camera & bounced off of ceiling.
Travis M. Chance
twin Mark IV's & a bunch of "L" glass site ∙ facebook
You are really overcoming obstacles. I like your inventiveness. The natural fill and reflector is helping to smooth out the main. Remember a small light source is hard and the further away from the subject the harder it becomes. You kicker is too hot. When you get a subject with bumpy skin you will pay the price by really accenting the complexion. No amt of retouching will help so watch out for that. You don't see it till its too late.
You are really overcoming obstacles. I like your inventiveness. The natural fill and reflector is helping to smooth out the main. Remember a small light source is hard and the further away from the subject the harder it becomes. You kicker is too hot. When you get a subject with bumpy skin you will pay the price by really accenting the complexion. No amt of retouching will help so watch out for that. You don't see it till its too late.
Your subject is quite the cutie!!
Excellent points Hackbone. I figured this out with trial and error a few years ago after realizing my 4ft octagon box created softer light than my 580ex!
_____________________________________________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams www.bellissimofoto.com
You are really overcoming obstacles. I like your inventiveness. The natural fill and reflector is helping to smooth out the main. Remember a small light source is hard and the further away from the subject the harder it becomes. You kicker is too hot. When you get a subject with bumpy skin you will pay the price by really accenting the complexion. No amt of retouching will help so watch out for that. You don't see it till its too late.
Absolutely stunning photo... pushes all other good ones I remembered from this thread out of my head. The desk, floor, ashtray, background etc.... this is more than a portrait photo, it is a statement. Top!
ciao!
Nick.
my equipment: Canon 5D2, 7D, full list here
my Smugmug site: here
Travis, when you get some time try your home set up this way......take a single fitted white bed sheet, then make a frame out of some 1 inch pvc pipe. This is to stretch thebed sheet over then you've got a rough but effective softbox, an a big one cat that. Just shoot your strobe thru that. Look up Dean Collins "Tinker Tubes" book.
It's at the entrance to a big park - you can see the road and the woods off to the left, and on the right there's some water and more big grass areas. I have wanted to shoot at this little building for ages - I reckoned all that white stone to bounce the light around would be like putting somebody in a light-tent, and I wasn't far wrong. It has some cool shuttered windows and architecture on the other side; with an older kid or adult there are cool nooks and crannies to pose them (plus even MORE light coming from the west, which in the right conditions - like golden hour - could be gorgeous).
I just wish we'd had prettier light last Thursday - it would have been nice to do this set in 100% natural light but it was way too cloudy; I got one or two, but most of the best ones involved the umbrella....
Below is a pullback from earlier today. In hind site, I should have fired the 580EX II (hair light) unmodified. I was trying to keep the light as soft as possible without making her hair too "hot". Nadia is a good friend of mine who asked me to produce a few corporate headshots for her. We managed 172 images in 1.5 hours with 150+ on Capitol Hill in DC. No pullback on the third image - I simply held a round reflector at about 45° with my left hand & shot with my right. Thanks for looking!
Travis M. Chance
twin Mark IV's & a bunch of "L" glass site ∙ facebook
Travis, first of all get rid of that ball she is sitting on.....makes her sit realy flat and you should have her resting her weight on her back cheek. That gives her shoulders a feminine tilt. You probably could use the ball but it might be a neat balancing act for her.
Your main is on a 45 and that is good but it is pointing at her and you might like the results if you skim it across her. Similiar to walking into a fan. You hit the first gentle breeze as you approach the fan at a perpendicular plane then as you walk in front of the fan the breeze increases. Think of the light working the same way. Aim it at her so she is getting the gentle part of the breeze, this makes the light wrap around more. Meaning it should be aimed more in front of her. Keep it where it is just twist it more toward the camera. Then you should not need the fill flash off the reflector nor the bottom reflector.
The pose is a great feminine pose. You have the main coming in over her front shoulder however her head is not turned enough to the high shoulder giving you a broad light. If you would have kept turning the head you would have had a nice short light. Try to move her arms out to form more of a base. In the first shot I would have had her right hand on her hip and her left on her left knee. Now you would have a triangle base. Try to get the ladies to wear long sleeves as the arms always detract especially as they get older. Just a fact of aging.
On hair lights remember dark hair needs more light and light hair needs less.
On the outside one you've got spotty lighting on her face. I know you wanted the dome in the shot but moving over to your left and having her turned a tad more might have gotten rid of the light on her face and acted more as a kicker on her hair and body form. I know you were by yourself but don't forget that we spoke about using the timer so you could handle the reflector.
Hope that helps......keep going. PS....for those head shots try to get her further from the background so less light is on it and it goes darker.
I think you have a great idea here and did a good job with it. My nit would be no consistent lighting on all the shots ie kicker, main mostly. You do have a really nice winner here
A Pullback on a shoot with Stefaniya, an insanely gorgeous Russian lady. All natural light through two large windows off camera left, diffused with sheer curtains.
and the result
Bilsen (the artist formerly known as John Galt NY) Canon 600D; Canon 1D Mk2; 24-105 f4L IS; 70-200 f4L IS; 50mm 1.4; 28-75 f2.8; 55-250 IS; 580EX & (2) 430EX Flash,
Model Galleries: http://bilsen.zenfolio.com/
Everything Else: www.pbase.com/bilsen
Canon 40D
Sigma 24-70mm
580EX radio triggered ettl +2 through umbrella front
550EX radio triggered ettl through 4x6" diffuser flagged back right 45*
420EX radio triggered ettl through 46x" diffuser flagged back left 45*
Comments
Most of my portrait work is about f8-f9 in the studio. Outside it all depends on light. If I've got a great sky I underexpose it with maybe f16 or 22 then use a flash for the subject. If it's a dark alley I could be 2.8.
My favorite lens is the 70-200 2.8. But I use that because at times I hate to admit it I'm lazy and don't want to move up or back. I'm trying to use the 85 1.2 and the 135 2.0 more because they are really tack sharp and great light gathers. Hope that helps.
www.cameraone.biz
Thanks Hack. I'm a fan of 1.4-2.8 but sometimes it's really tricky when the model is moving. I agree that the primes are pretty sharp but I only have one, the 50mm. That lens tends to round the faces too much for my liking. 85 1.2 is a beast, would love to own one day and the 135 macro is at the top of my reasonable wish list.
Great work and again, much thanks.
Thanks Hack. I'm a fan of 1.4-2.8 but sometimes it's really tricky when the model is moving. I agree that the primes are pretty sharp but I only have one, the 50mm. That lens tends to round the faces too much for my liking. 85 1.2 is a beast, would love to own one day and the 135 macro is at the top of my reasonable wish list.
Great work and again, much thanks.
1.
2.
3.
4.
www.cameraone.biz
Moderator of the People and Go Figure forums
My Smug Site
www.cameraone.biz
twin Mark IV's & a bunch of "L" glass
site ∙ facebook
twin Mark IV's & a bunch of "L" glass
site ∙ facebook
#1
Single light setup (no reflector for fill or speedlite providing rim lighting). The Honl Traveller 16 was used (above & camera right). Nice gradient & perfectly round catchlights! Just wish the damn thing would stay attached to my strobe (it would then be the perfect modifier as it folds up nicely).
#2
Back to the Gary Fong Lightsphere + 7" Reflector setup. This time, I have a 580EX II mounted on the camera & bounced off of ceiling.
twin Mark IV's & a bunch of "L" glass
site ∙ facebook
Your subject is quite the cutie!!
www.cameraone.biz
Excellent points Hackbone. I figured this out with trial and error a few years ago after realizing my 4ft octagon box created softer light than my 580ex!
_____________________________________________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams
www.bellissimofoto.com
1.
2 out of camera
3. finished file
www.cameraone.biz
Travis, looking good dude!
Absolutely stunning photo... pushes all other good ones I remembered from this thread out of my head. The desk, floor, ashtray, background etc.... this is more than a portrait photo, it is a statement. Top!
Nick.
my equipment: Canon 5D2, 7D, full list here
my Smugmug site: here
1.
2.
www.cameraone.biz
Canon 600D; Canon 1D Mk2;
24-105 f4L IS; 70-200 f4L IS; 50mm 1.4; 28-75 f2.8; 55-250 IS; 580EX & (2) 430EX Flash,
Model Galleries: http://bilsen.zenfolio.com/
Everything Else: www.pbase.com/bilsen
www.cameraone.biz
This is the site.
www.cameraone.biz
Location (umbrella just out of shot camera right)
One of the final images
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It's at the entrance to a big park - you can see the road and the woods off to the left, and on the right there's some water and more big grass areas. I have wanted to shoot at this little building for ages - I reckoned all that white stone to bounce the light around would be like putting somebody in a light-tent, and I wasn't far wrong. It has some cool shuttered windows and architecture on the other side; with an older kid or adult there are cool nooks and crannies to pose them (plus even MORE light coming from the west, which in the right conditions - like golden hour - could be gorgeous).
I just wish we'd had prettier light last Thursday - it would have been nice to do this set in 100% natural light but it was way too cloudy; I got one or two, but most of the best ones involved the umbrella....
twin Mark IV's & a bunch of "L" glass
site ∙ facebook
Your main is on a 45 and that is good but it is pointing at her and you might like the results if you skim it across her. Similiar to walking into a fan. You hit the first gentle breeze as you approach the fan at a perpendicular plane then as you walk in front of the fan the breeze increases. Think of the light working the same way. Aim it at her so she is getting the gentle part of the breeze, this makes the light wrap around more. Meaning it should be aimed more in front of her. Keep it where it is just twist it more toward the camera. Then you should not need the fill flash off the reflector nor the bottom reflector.
The pose is a great feminine pose. You have the main coming in over her front shoulder however her head is not turned enough to the high shoulder giving you a broad light. If you would have kept turning the head you would have had a nice short light. Try to move her arms out to form more of a base. In the first shot I would have had her right hand on her hip and her left on her left knee. Now you would have a triangle base. Try to get the ladies to wear long sleeves as the arms always detract especially as they get older. Just a fact of aging.
On hair lights remember dark hair needs more light and light hair needs less.
On the outside one you've got spotty lighting on her face. I know you wanted the dome in the shot but moving over to your left and having her turned a tad more might have gotten rid of the light on her face and acted more as a kicker on her hair and body form. I know you were by yourself but don't forget that we spoke about using the timer so you could handle the reflector.
Hope that helps......keep going. PS....for those head shots try to get her further from the background so less light is on it and it goes darker.
www.cameraone.biz
Moderator of the People and Go Figure forums
My Smug Site
Really picking this image apart I feel like I should have softened up the light a little on the first image on the left... CC and tips appreciated.
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and the result
Canon 600D; Canon 1D Mk2;
24-105 f4L IS; 70-200 f4L IS; 50mm 1.4; 28-75 f2.8; 55-250 IS; 580EX & (2) 430EX Flash,
Model Galleries: http://bilsen.zenfolio.com/
Everything Else: www.pbase.com/bilsen
Canon 40D
Sigma 24-70mm
580EX radio triggered ettl +2 through umbrella front
550EX radio triggered ettl through 4x6" diffuser flagged back right 45*
420EX radio triggered ettl through 46x" diffuser flagged back left 45*
More here: http://www.simpsonbrothers.net/Photographs/Portraits/Katie-G/
Smugger for life!
Most Popular Photos
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