Very, very nice. Try getting your main as close as possible, just out of frame or possibly catching the edge and see what you think of the light and shadow. Thanks for posting. You've made great use of your space.
Very, very nice. Try getting your main as close as possible, just out of frame or possibly catching the edge and see what you think of the light and shadow. Thanks for posting. You've made great use of your space.
thank you for the encouragement! Ill try moving it in closer next time the lady lets me destroy her living room
Remember, a big light very close is a soft light on your subject. Move it further away and it gets harder. Also a tiny light source is hard. So.......get that thing in as close, just out of frame, for a great soft light for your cute model. Get everything closer to the right wall and use that as a reflector if it is white. This space is great!
ps.....are any of the windows facing north.....that could be even better.
Remember, a big light very close is a soft light on your subject. Move it further away and it gets harder. Also a tiny light source is hard. So.......get that thing in as close, just out of frame, for a great soft light for your cute model. Get everything closer to the right wall and use that as a reflector if it is white. This space is great!
ps.....are any of the windows facing north.....that could be even better.
The window is actually east facing and thank you for the tip on using the wall as a reflector. I did end up moving the light in closer once we got to shooting (probably still not close enough) but was still having issues with the "not having a sync cable or wireless setup" yet. I have since gotten my hot shoe adapter for the sync cable. Its soooooo nice to be able to freely move and still have the light fire
definitely wasnt my best shoot but its getting there. I was about to order a couple new back drops but ended up having to pay for new parts to put on the ladies car. The lower ball joint (well the entire lower control arm) needed to be replaced and she also ran something over something so we will need two new tire as well The wonderful life of being an automotive technician
Remember, a big light very close is a soft light on your subject. Move it further away and it gets harder. Also a tiny light source is hard. So.......get that thing in as close, just out of frame, for a great soft light for your cute model. Get everything closer to the right wall and use that as a reflector if it is white. This space is great!
ps.....are any of the windows facing north.....that could be even better.
Great advice Charles, thank you!
____________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams flight school
Your don't need a sync cord to fire your strobe. You can use your on camera flash to trip the slave on your main unit. It will help if you have the flash that is separate from the camera not built in. You can then put it on the camera, tip it up or away from your subject and it will fire the strobe. Will even act as a fill it you play with it.
If I moved up even with the strobe or if the rear of it was facing away from the camera, the on camera flash wouldnt trigger it. Made moving around pretty hard. Pretty much had to keep the strobe somewhat a head of me so it would trigger. But I do have the hot shoe adapter now so I am able to more or less freely move and not worry about the strobe not firing.
Ordered a pair of Canon 600EX Rt flashes. They are radio controlled and can do hi speed sync. The first set were taken with the same set up as show. The prints are all straight out of camera but with some black point and minor exposure correction then converted to jpegs. Kept one cool and the others warmer.
All shots were 1/160, ISO 100 f3.2 with 85mm prime.
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On the second set same set up but with mom blocking the sun.
Playing with gels. Although not shown in the pull back, I had a yellow gel in the BG light on the right and an orange on the left in the first photo. Second shot is with purple on the right and blue on the left. It's the first time I've ever used gels. It took me a bit to figure out you really have to stop down the light so you don't blow out the color.
Curious: what are the two speedlights on the table lighting?
They were in the pumpkin... woops forgot to mention that! oh and one of them stopped firing for whatever reason and the pumpkin wasn't lit near as much as it was when I set up the shot
All were taken with this setup. At times both flashes used in direct sunlight and in the shade dropped back to one flash. Some in manual mode and some in ETTL.
Your work is fantastic & hopefully, one day I'll be half as good as you! Below are a few from a shoot this past Saturday. At first, I had both of my 580's set to ETTL mode, but all I could hear was Charles standing over my left shoulder saying, "Get out of automatic - you can do son!!!" I looked back, smiled & with some hesitation, switched my speedlites to Manual. The first set (with pooch) were shot in ETTL & at f8. The second set was shot at f8 1/80 to allow more ambient (highlights brought down in post). The third set (bridge) were shot at f11 1/100. Comments & Critique are welcomed!!!! Thanks
Travis M. Chance
twin Mark IV's & a bunch of "L" glass site ∙ facebook
Travis, as they say, " You did Good". I find it hard to expose for light and dark skin and you did a surperb job. This work is very pleasing and extremely sellable. Manual is so much easier to adjust for. Add a vignette and see how that looks. Your a fast study, congrats.
Your work is fantastic & hopefully, one day I'll be half as good as you! Below are a few from a shoot this past Saturday. At first, I had both of my 580's set to ETTL mode, but all I could hear was Charles standing over my left shoulder saying, "Get out of automatic - you can do son!!!" I looked back, smiled & with some hesitation, switched my speedlites to Manual. The first set (with pooch) were shot in ETTL & at f8. The second set was shot at f8 1/80 to allow more ambient (highlights brought down in post). The third set (bridge) were shot at f11 1/100. Comments & Critique are welcomed!!!! Thanks
I respect this work -- you have to have the patience of a saint to take a sandbag, boom, octa, etc. onto location for this type of work (that usually needs to move quickly to keep a good flow going). I hope you had an assistant!
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thank you for the encouragement! Ill try moving it in closer next time the lady lets me destroy her living room
also got my first strobe in today:
let the madness begin
twin Mark IV's & a bunch of "L" glass
site ∙ facebook
ps.....are any of the windows facing north.....that could be even better.
www.cameraone.biz
http://andeedesign.com/
The window is actually east facing and thank you for the tip on using the wall as a reflector. I did end up moving the light in closer once we got to shooting (probably still not close enough) but was still having issues with the "not having a sync cable or wireless setup" yet. I have since gotten my hot shoe adapter for the sync cable. Its soooooo nice to be able to freely move and still have the light fire
definitely wasnt my best shoot but its getting there. I was about to order a couple new back drops but ended up having to pay for new parts to put on the ladies car. The lower ball joint (well the entire lower control arm) needed to be replaced and she also ran something over something so we will need two new tire as well
oh well. Maybe in a month or two
Great advice Charles, thank you!
____________________
Chuck Dee - AKA Chris
"A good photograph is knowing where to stand." -Ansel Adams
flight school
www.cameraone.biz
www.cameraone.biz
All shots were 1/160, ISO 100 f3.2 with 85mm prime.
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5. [img][/img]
On the second set same set up but with mom blocking the sun.
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Moderator of the People and Go Figure forums
My Smug Site
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White vinyl BG. The one in the pullback.
Moderator of the People and Go Figure forums
My Smug Site
Moderator of the People and Go Figure forums
My Smug Site
www.cameraone.biz
Sure! Here you go.
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Curious: what are the two speedlights on the table lighting?
They were in the pumpkin... woops forgot to mention that! oh and one of them stopped firing for whatever reason and the pumpkin wasn't lit near as much as it was when I set up the shot
All were taken with this setup. At times both flashes used in direct sunlight and in the shade dropped back to one flash. Some in manual mode and some in ETTL.
1.
2.
3.
4.
5.
6.
www.cameraone.biz
Your work is fantastic & hopefully, one day I'll be half as good as you! Below are a few from a shoot this past Saturday. At first, I had both of my 580's set to ETTL mode, but all I could hear was Charles standing over my left shoulder saying, "Get out of automatic - you can do son!!!" I looked back, smiled & with some hesitation, switched my speedlites to Manual. The first set (with pooch) were shot in ETTL & at f8. The second set was shot at f8 1/80 to allow more ambient (highlights brought down in post). The third set (bridge) were shot at f11 1/100. Comments & Critique are welcomed!!!! Thanks
twin Mark IV's & a bunch of "L" glass
site ∙ facebook
www.cameraone.biz
www.CottageInk.smugmug.com
NIKON D700
I respect this work -- you have to have the patience of a saint to take a sandbag, boom, octa, etc. onto location for this type of work (that usually needs to move quickly to keep a good flow going). I hope you had an assistant!