This one needs some correction, the slight kicker hitting her right arm is a bit distracting and eyes seem to be very dark. It is a great idea. Please post more.
This one needs some correction, the slight kicker hitting her right arm is a bit distracting and eyes seem to be very dark. It is a great idea. Please post more.
I agree!
Unfortunately I was using velcrow on 4x6" diffusers. To do the shot how I want it I need to buy some 12"x36" gridded stripboxes. Just don't have them yet.
Pullback from One Light
Ok, here's the pull back. Three of the four shots were taken at ~25mm F8 1/250 (lens 17-35/2.8). The three quarter shot was with an 85mm/1.4 at F3.5 1/200. All shots were at ISO 200 on a D800. The light was a 180cm Octobox w/o diffuser with a Broncolor monolight. I don't remember which model. Power was set at 85%.
There was surprisingly little post work required to produce the final images. I am so much more used to having to spend time making multiple small adjustments in post when working with natural light in the wild.
Ok, here's the pull back. Three of the four shots were taken at ~25mm F8 1/250 (lens 17-35/2.8). The three quarter shot was with an 85mm/1.4 at F3.5 1/200. All shots were at ISO 200 on a D800. The light was a 180cm Octobox w/o diffuser with a Broncolor monolight. I don't remember which model. Power was set at 85%.
There was surprisingly little post work required to produce the final images. I am so much more used to having to spend time making multiple small adjustments in post when working with natural light in the wild.
Here's the setting
Nice. How about a final shot?
_____________________________________________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams www.bellissimofoto.com
40D, Sigma 10-20mm f4 1/2000
580EXii master in 43" Westcott Apollo Orb on Ettl +3 HSS with maybe 15* tilt directly above camera lens
550EXii slave camera right by edge of backdrop on stand 45* back from subject set on a:b 1:8 with 4x6" diffuser
420EX slave camera left by edge of backdrop on stand 45* back from subject set on a:b 1/8 with 4x6" diffuser
background processed in photomatix, portrait processed in ACR, both composed in CS3 with topaz adjustments.
40D, Sigma 10-20mm f4 1/2000
580EXii master in 43" Westcott Apollo Orb on Ettl +3 HSS with maybe 15* tilt directly above camera lens
550EXii slave camera right by edge of backdrop on stand 45* back from subject set on a:b 1:8 with 4x6" diffuser
420EX slave camera left by edge of backdrop on stand 45* back from subject set on a:b 1/8 with 4x6" diffuser
background processed in photomatix, portrait processed in ACR, both composed in CS3 with topaz adjustments.
Agree with Charles......very cool! Good work!
_____________________________________________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams www.bellissimofoto.com
43" apollo orb octobox left with 580EXii on radio trigger ettl
Shoot through umbrella right with 550EX on radio trigger ettl
Bare 420EX on radio trigger ettl in suitcase laying down and facing away from camera
Canon 40D, ISO200, 1/20sec, f/8, WB-Flash, Sigma 24-70 f/2.8
Ambient knocked down with shutter speed.
Here is a traditional five light setup for general portrature. 1 a main, 2 a hair, 3 a background lt, 4 a kicker, 5 a fill. My fill is an odd setup that a grand master from NJ came up with to give an even light anywhere in the front of the studio. His name was Joe Zeltsman. You can use an umbrella for the fill but the even fill anywhere up front is not as much. Sorry for the out of focus shot.
The subject has her leg crossed over to transfer her weight to her rear cheek to help tilt her shoulders for a more feminine line and her arms are out to give a base for her head.
In the photo the main is on the viewers left but for the shot I moved it to the viewers right.
Can I block sunlight?
I see alot of photos here that are very poor due to overexposure by sunlight. Even in direct light you can get great shots by using a flash and blocking the sunlight. The prints are basically straight out of camera.
Look at the sunlight on the person holding the reflector to block the light. His exposure is pretty hot.
Look at the subjects had where I missed catching the light hitting his hand. That is how bad his face would have looked without blocking the light.
I exposed for the truck/greenery and brought the flash in. Hope this makes sense.
You address something that took me a bit to realize. Often times when shooting outside, it's much easier to "subtract" light than it is to overpower it. Using a gobo to block sun light or a diffuser to stop it down is way easier than trying to light a background that may be in shade or trying to use fill to overpower light on your subject. I think we all know and think of using open shade but sometimes there isn't any to be found. You have to make it as you have in your pull back.
One of things that I read a while ago that just clicked with me is that when lighting your subject, it's all about finding a way to balance them with the light on background elements. You either need to bring up the light on your subject to match a bright BG or bring down the light on them to match a darker BG. Basically thinking the way landscape photogs think when using GND filter to reduce the dynamic range in the scene they're shooting. Instead of a filter, we use other tools to like flash, reflectors, diffusers, and gobos to reduce the dynamic range in our outdoor portraits.
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Unfortunately I was using velcrow on 4x6" diffusers. To do the shot how I want it I need to buy some 12"x36" gridded stripboxes. Just don't have them yet.
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Ok, here's the pull back. Three of the four shots were taken at ~25mm F8 1/250 (lens 17-35/2.8). The three quarter shot was with an 85mm/1.4 at F3.5 1/200. All shots were at ISO 200 on a D800. The light was a 180cm Octobox w/o diffuser with a Broncolor monolight. I don't remember which model. Power was set at 85%.
There was surprisingly little post work required to produce the final images. I am so much more used to having to spend time making multiple small adjustments in post when working with natural light in the wild.
Here's the setting
Nice. How about a final shot?
_____________________________________________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams
www.bellissimofoto.com
40D, Sigma 10-20mm f4 1/2000
580EXii master in 43" Westcott Apollo Orb on Ettl +3 HSS with maybe 15* tilt directly above camera lens
550EXii slave camera right by edge of backdrop on stand 45* back from subject set on a:b 1:8 with 4x6" diffuser
420EX slave camera left by edge of backdrop on stand 45* back from subject set on a:b 1/8 with 4x6" diffuser
background processed in photomatix, portrait processed in ACR, both composed in CS3 with topaz adjustments.
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I never did get this right but Kseniya on the Ducati in an old warehouse made it worth trying, even at 105 degrees.
Setup:
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
Agree with Charles......very cool! Good work!
_____________________________________________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams
www.bellissimofoto.com
43" apollo orb octobox left with 580EXii on radio trigger ettl
Shoot through umbrella right with 550EX on radio trigger ettl
Bare 420EX on radio trigger ettl in suitcase laying down and facing away from camera
Canon 40D, ISO200, 1/20sec, f/8, WB-Flash, Sigma 24-70 f/2.8
Ambient knocked down with shutter speed.
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That help?
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The subject has her leg crossed over to transfer her weight to her rear cheek to help tilt her shoulders for a more feminine line and her arms are out to give a base for her head.
In the photo the main is on the viewers left but for the shot I moved it to the viewers right.
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twin Mark IV's & a bunch of "L" glass
site ∙ facebook
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______________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams
www.bellissimofoto.com
metal buildings
I see alot of photos here that are very poor due to overexposure by sunlight. Even in direct light you can get great shots by using a flash and blocking the sunlight. The prints are basically straight out of camera.
Look at the sunlight on the person holding the reflector to block the light. His exposure is pretty hot.
Look at the subjects had where I missed catching the light hitting his hand. That is how bad his face would have looked without blocking the light.
I exposed for the truck/greenery and brought the flash in. Hope this makes sense.
1.
2.
3.
www.cameraone.biz
You address something that took me a bit to realize. Often times when shooting outside, it's much easier to "subtract" light than it is to overpower it. Using a gobo to block sun light or a diffuser to stop it down is way easier than trying to light a background that may be in shade or trying to use fill to overpower light on your subject. I think we all know and think of using open shade but sometimes there isn't any to be found. You have to make it as you have in your pull back.
One of things that I read a while ago that just clicked with me is that when lighting your subject, it's all about finding a way to balance them with the light on background elements. You either need to bring up the light on your subject to match a bright BG or bring down the light on them to match a darker BG. Basically thinking the way landscape photogs think when using GND filter to reduce the dynamic range in the scene they're shooting. Instead of a filter, we use other tools to like flash, reflectors, diffusers, and gobos to reduce the dynamic range in our outdoor portraits.
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hopefully Ill be getting some decent lights here shortly