Some body please post some pictures... will ya?
Some body please post some pictures... will ya?
On quite possibly the hotest day of the year in North Haven, Sag Harbor, NY. The sun was a monster all I could do was fill a little. But this one proves the old adage, F8 and Be There!
Let me walk into a scene like this every-time, shoot took 7 minutes (yes I looked at my watch). Hello, goodbye...
Bewitched by Two!
Another day of shooting an at home with profile. We were breaking the set packing up the gear and I was going to shoot some exteriors. Our scheduled time to pack up and leave fast approaching.
Then I saw the hammock. Would you believe this was flash on camera, me standing between the sliding doors and the subject just outside of the house.
grrr. just lost my whole post...
thought I'd share: a portrait of a UN worker, shot in eastern Congo by the lake,
during stormy weather.
P45 on RZ ProIID
AcuteB2 at max power on a 27in Deep Octa covered up as main light.
Ranger head at full power on standard reflector with yellow gel for back.
thanks for all I'm getting from this forum...
cool picture, Carlo! I had long to wait to see your new work!;-)
ha ha rem - many thanks.
I suppose I still feel old-school about all these,
y'know, the idea that it should be either on a wall or by turning pages in a book.
bu then again, I have picked up more than a few really helpful tips/solutions
from people showing their work here.
thanks again, and best regards
PS for more, I'm at www.ocarlo.com
;-) Thanks Carlo, fun to watch!;-)
Ok here is the story, I had a wonderful, bright, energetic, and industrious intern from Italy for a few months. A very intelligent person.
This person though that my insistence on the use of a lens hood was silly. I explained that even the best lenses can flare and unless that's the look you want. That's what you risk without the proper use of a lens hood.
Below are two images from our last shoot together.
I used a large strip light (6ft) to the left of camera and a foam core white 4x8 to the right of the subject for fill. I used one light as the top light to hit the backdrop and the subject from above. Top light was one full stop above the main (large strip). 2 lights total, that"s it.
In the first photo the camera was shot from about 10 feet to subject, from about 3 1/2 feet above the floor.
The second photo the camera was shot from about 3 feet to subject from about 5 1/2 feet above the floor. Guess what happened?
Camera lens was properly hooded for both frames.
Don't misunderstand sometimes I flare intentionally just like a zillion other folks, I just want to know when and if it's happening. Call me a control freak...
Here's one using a single Paul Buff Einstein 640 powered by a Vagabond Mini Lithium battery pack... big silver umbrella camera right.
Chair is lit mostly by bright ambient coming through the perforated wall panel to the left... and the whole scene was metered such that the far background (cloudy, but 2pm in the afternoon) would be underexposed so as balance with the shaded/lit foreground.
and this is what the scene looked like in reality (rearranged a bit in the actual photo).. the reflector was on stand-by and not part of the lighting scheme :
and the opposite view:
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Nice to see the direction you are moving in Shelby. I saw these in the MFD section and appreciated reading the sensitive nature of the back-story regarding the series of your kids. Very brave of you to address this subject with your art.
While totally subjective, the one posted here feels a bit harsh on the drop off from subject area to background. Not much, but just a bit. It would have been a little more natural looking of a drop off if feathered just a touch more while still maintaining the background ambient darks to lights IMO.
I noted where the monolight was set in relation to the umbrella that looks to be in tighter, which tends to concentrate the beam more and harden the fall off. It is hard to tell from your "behind the scenes" shot whether the umbrella shaft still has room to move or not. Moving the umbrella out just a bit more would feather the drop-off in a more natural manner ... or if it is out all the way already, you could slightly angle the direction of the umbrella ... modifiers do not have to be aimed directly at the subject.
Anyway, small comments, but this is the lighting forum where small stuff counts
Here are a few examples of a recent session with a body builder that was commissioned by his trainer/advisor for poster sized reproductions.
I also made a Leica S2P poster for myself ...
As usual, I pre-planned out various shots I wanted to try, and had background, lights, boom-arms and modifiers needed ready to go
because these guys can only hold the maximum pose for so long and repeating it frequently yields diminishing returns.
The objective was to use very directional, more specular light as opposed to larger and softer light quality ... this was done to POP the muscles and provide a more defined and chiseled nature to the renderings.
The bicep flex was shot with a single, camera-right Mola 33.5" Beamm beauty dish which has a polished, almost mirrored reflective surface that produces a very specular light quality. Profoto D4/2400 box was used, and a few different levels of adjustment tried until the right level was obvious.
The symmetrical shot of the back was a single 6' Profoto strip light with a 4" Profoto mask mounted to a boom arm directly over-head and ever so slightly positioned toward the camera to spill directional light down his back.
Camera was a Leica S2 tethered to the computer so the trainer could evaluate whether the subject had produced the most defined flex for each different pose. We did about 12 poses.
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You've got some keen eyes there, Marc... I need to get you to help me focus. The umbrella comment I find especially helpful and astute... I, indeed, left the shaft extension at home and had the umbrella out almost as far as it could go but thought "it'll be alright".
You're comment really brings it all back to reality in that the small stuff really makes a big difference with certain modifiers. Thanks! I also wish I'd opened up the ambient a tad by lengthening the shutter speed a half stop or so... could have "fixed" that in post, but decided to try and work more closely with what I actually captured.
I tried for soft, but with a bit more sparkle and contrast... and was aiming for something between what I got and this shot (which was with a softbox and a more balanced ambient/strobe ratio)
I'll keep on working at it...
Thanks for the keen comments and taking the time for meaningful critique. Much appreciated!
(I do find the color treatment of the first one leaves his ear looking a bit strange, color-wise, but man am I nit-picking here... and in a subject sense.)
Nicely refined work, Marc.
Fonts are totally subjective huh? Another designer thought it was perfect. What's a mother to do? None of the images were provided with type to the client anyway ... they are getting printed 40 X 60 for a work-out area.
Thanks, lets keep 'em coming!
What is interesting as you delve into lighting control is how you can alter images by light placement and the creation of shadows ... which takes open experimentation without fear of failure ... failure with digital is just a delete button away, which makes it a heck of a lot more fun and instructional than it was with film
For example, I would have been overwhelmingly compelled to try placing the light outside the slatted wall camera left just to see what the effect would be, and then placed the subject so the shadows would fall just right ... maybe needing some fill to vary the degree of shadow depth. Probably not your original intent ... then again it may have increased the emotional impact.
What kind of umbrella is that? Perhaps of interest to you are the new Westcott Parabolics which are 7', have white fiberglass ribs and being a Parabolic configuration allow more effective control of the beam width by sliding the light closer or further from the umbrella surface. Only $99. which is unbelievablely inexpensive considering the "real" Parabolics are like $10K! I got two, one white and the other silver for fast wedding set-ups with my Quadra.
Much appreciated. The same thoughts had crossed my mind, but, alas the other side of that wall was a three-story drop so putting a light there was an impossibility with my particular gear that day. Those trees in the far background are tree-tops as we were on the third floor of the student union building here on the LSU campus.
The umbrella is actually the big photek softlighter II without the diffuser. I've been looking at both the Westcott and the Paul Buff parabolics. They are next on my list. I'm especially interested in using the big white parabolic as a shoot-through for uber-soft headshot light for ladies. Buff (and maybe Westcott) has a black spill-killer for the back so you get a bit more efficiency when you use is as a shoot through (a sort of Chinese lantern).
Finals week ends friday... and I'm gonna get out and shoot a lot in the next 4-5 weeks. Time for some experimentation for sure.
This is a shot I did last year it is 4 light set up, all Profoto strobes, the key is a Fresnel Spot, the left kick is s gridded strip box, the background is a gridded head, and the highlight from the right is an open soft box with out diffusion
Last edited by Landshark; 1st January 2012 at 08:57.
The Fresnel is off to the right with the doors shut down to have the light fall off the lower right of the frame, the angle of the light is centered on Anne face. The strip box is high on the left, the Oscar's fill is 90 degrees to the right low output pretty far off the set, the background light is behind the backdrop, hope that helps
This is a pretty simple three light setup with the fresnel again as the main light on the left, gridded head as a kicker on the right and a snooted head on the backdrop
here is another 4 light setup the main light is a Profoto Magnum reflector outside the window and up high, the city scape straight head, the chair and fruit are lit by a grided spot, the whole set is filled with a Broncolor 220 slightly left of camera
I added a Larson 18" Fresnel to my modifiers. It's all set-up and ready to test, but probably won't get to it for a few weeks. I just love the way the light falls of with these things, just have to see if I can get the results I want. I'll let you know how it goes.
For me a lot of lighting is seeing and feeling the light, so for the differences in the look of light shapers is not easy to put in words for me but here goes. The most common Fresnel I use are a couple of older Multiblitz Fresnel permanently mounted flashtube heads that were converted to work with Profoto power packs. What I like most about them it that are basically 10” DeSisti Fresnels with custom flash tubes that pretty faithfully reproduce the light one would get with a hot light or HMI light, they have a sort of sharp focused softened light with a very distinctive falloff, the addition of a large set of barn doors, helps to make for a very accurate falloff. The more common Fresnel is one in which you just insert a normal strobe head inside or in the back, while I still like using these, they seem softer and have a s defined fall off. Gridded heads with doors have there place too but you cannot get the same control with the barn doors, the falloff is wider and softer, you have to control them by the moving them closer or further from the subject. I hope this helps.
Here is a shot I did this summer with a mixture of Fresnels and gridded spots, a Broncolor 330 provides the basic fill as well a as a large strip box, the tent is lit from behind with 4 heads, the star lights are ac slave heads, fyi the tiger was added and there are a couple of head strips
Bob, great Pictures, I love the Circus esp. and your participation is very helpfull!
I haven't posted for quite some time. Just was too busy doing nothing
Shot this last month in Siberia. Tree-light set-up. The most pleasant part was lighting the string
No, we didn't pull the tooth.
Love those vacuum glasses.
old remedy for whatever ailed you.
Irakly, welcome back.
Thanks, I will post some other images when I get the chance
After seeing these in action and discussing them, it looks to be a worthwhile addition to the lighting kit. I looked on the Mutiblitz sight, but I can't tell if they are just for their heads, or if they can be adapted to my Profotos. The Profoto ones are a LOT more expensive ... especially the one I like (of course :-)
Update, went to the Larson site and those look pretty good ... they are a bit skimpy on the details ... can't figure out how to use them with the Profoto heads, but I'm sure there's a way. I wonder how small the beam can get with the 18" version (which is a 14" lens) ... have you tried that from say 5' away from subject David? Did you get the barn doors also?
Last edited by fotografz; 3rd January 2012 at 02:46.
Sorry I forgot to mention that i have owned these Multiblitz units for years, I pretty sure they were discontinued quite a while ago, these days we are buying some Profoto ones
I was afraid you'd say that, the Profoto one with built-in flash @ $7K is waaaaaaaay out of my price range. The ones you add to an existing head are much more doable ... but still really expensive (as are all the excellent Profoto items)
There is the 11.8" lens for $2,042:
Or the smaller 6" lens for $1,361:
The one that really interests me is this one which @ $3,793 is a lot more, but seems a much more versatile "kit":
Any thoughts anyone ?????????????????????
I've got a Photogenic 1250dr attached to it. You just order the correct back plate for the strobe you'll use in it. You can move the strobe assembly forward or back to narrow the light beam. I don't believe the 18" model can take the barn doors, but the 14" does. If you are interested in it, ask for Jen, tell her you know me, and price will be substantially lower.
I have used the first one, it is okay but will not give that hard and edge with doors, never used the second one, and the the third one I got one or two with my new HMIs and have not had much time with them yet.
you also my consider talking to a strobe repair man and see if they can convert one of these models from Hensel, They look they come in three different models with different plugs, it should not be that hard to either make pig tails or just rewire the plugs to what power packs you have, but check with someone first and see how much it would cost.
this model too
Apologies for hi-jacking this "Picture" thread with gear questions ... many thanks to Bob and David for their assistance!
Bob, I also have Hensel gear, and I think I'll go with the self-contained Hensel Starspot head for the Porty 1200L, the round plug will also work with my Hensel 1200 Pro-Mini AC pack albeit a weaker modeling light, (which I may be able to swap out for AC studio use).
This provides the most versatility for my small operation, and an interesting option for outdoor applications with less wind issues like with umbrellas and soft-boxes. If and when I need more, I'll rent it.
Now back to our regularly scheduled parade of lighting examples (although Bob and Irakly are tough acts to follow )
LOL guys, did you forget the subject line of this thread?
Another memory from Siberia
Two Profoto monolights (3x5' softbox and a conical snoot), one wall, one floor and a looking-glass-woman
Leica M8 CV75/2.5 ISO160 1/125 f/8
Ancient hot lighting:
300w halogen video light left of camera
2-300w tungsten each in 12" Smith/Victor parabolics right of camera
1-CF PAR on backdrop
Canon F1n FD135/3.5 Agfa Scopix (ortho-xray) EI25 1/30 f5.6 Phenidone/Carbonate/Sulfite developer
Lighting as above, except 2-300w's are shot thru semi-silver umbrella.
Slight dodge around eyes/nose.
All lighting extremely close, just outside camera field of view.
From last summer.
2x elinchrom ranger rx with three flash heads.
2x elinchrom ranger rx with two flash heads.
In your shot, how did you have the speed-light set into the softbox? I ask because of the hot spot on her camera right arm. Speed-lights can do this sometimes especially if close to the subject, because the light is so concentrated when it hits the soft-box diffuser.
I also think I may have tried to use something to fill the shadows around her camera right hand ... which have "subjectively" created a sort of webbed finger effect.