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FORUMS General Gear Talk Flash and Studio Lighting
Thread started 27 Apr 2015 (Monday) 21:14
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Lets See Your OCF HSS Outdoor Portraiture.

 
Bobster
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Sep 12, 2016 18:11 |  #466

Tripple YN658EX-II through a 30in shoot through

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AD360 in 1.2m Octobox

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endos
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Sep 12, 2016 18:16 |  #467

dmward wrote in post #18124709 (external link)
Saying that you want to get it right, compositionally, in camera, in my view, means you've never worked in situation where there is an art director or other supervisor with "their" view.

You are right, I never worked this way.

dmward wrote in post #18124709 (external link)
When I started doing commercial photographer I had cameras that had 2:3, 2:2, 4:5 and 5:7 formats.

The "crop" of camera is an arbitrary and meaningless constraint. There are times I've shot something where I knew that I had to do a three or four image composite to get the panoramic image I wanted. Other times shooting with 2:3 that I knew I would be cropping to 2:2.

And that's the point, as you know what the final format is, you can work according to that. In my case it's nearly always 3:2, the same as my camera.

I have photographs published in books and magazines worldwide, but is with a different type of photography, stock photography. There are some requisites, as are the final quality and a minimum resolution for example, but there is none about the format. And of course there are not art directors or supervisors.

dmward wrote in post #18124709 (external link)
With film, art directors generally specified film size based on the size they new the image would be used in print. Then cropping of the image was indicated in a layout based on page size, aspect ration and how the image would be used in the ad or editorial. There was never a view that the camera aspect ratio had any meaning related to the image.

I do know that there is a school of thought that wants to follow the HCB street photography approach of in camera framing. In my view that's a restraint that is more meaningless than meaningful.

Maybe it is, but for me, leave more space in each photo can be translated as more work for me, because I will be forced to crop every photo.


Regards,
Juan

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EightEleven
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Sep 13, 2016 11:42 as a reply to Bobster's post |  #468

Just bought myself an additional 568EX ii for the same reason.. Double them up!
Great little flashes!


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endos
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Oct 08, 2016 07:04 |  #469

Godox AD360 with stock reflector and orange gel.

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Regards,
Juan

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Bobster
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Post has been edited 8 months ago by Bobster.
Oct 08, 2016 14:14 |  #470

Tripple YN658EXII+YN622with 30in Shoot through.

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MD ­ Steelerfan
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Oct 08, 2016 15:35 |  #471

Olympia competitor Brittany Taylor in Las Vegas

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Love those Profoto B1's!

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Angmo
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Oct 08, 2016 16:37 |  #472

MD Steelerfan wrote in post #18151817 (external link)
Olympia competitor Brittany Taylor in Las Vegas

thumbnailHosted photo: posted by MD Steelerfan in
./showthread.php?p=181​51817&i=i28501951
forum: Flash and Studio Lighting
thumbnailHosted photo: posted by MD Steelerfan in
./showthread.php?p=181​51817&i=i49095119
forum: Flash and Studio Lighting

Love those Profoto B1's!

I'm gonna get more coffee.


Nikons, Rolleiflexes, Elinchroms

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Tomi ­ Hawk
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Post has been edited 1 month ago by Tomi Hawk.
Oct 08, 2016 16:55 |  #473

Kepi's Graduation Picture


Pentax 6x7 tripod mounted 165mm 1/30 f4 fuji film 220 Metz 60CT-1 OC right 4x4 reflector direct rear of subject

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Pekka
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Oct 08, 2016 17:15 |  #474

Tomi Hawk wrote in post #18151873 (external link)
Kepi's Graduation Picture


Pentax 6x7 tripod mounted 200mm 1/30 f4 fuji film 220 Metz 60CT-1 OC right 4x4 reflector direct rear of subject

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I like it, it has those soft old film tones and a nice spontaneous pose.


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Bobster
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Oct 08, 2016 17:16 |  #475

Tomi Hawk wrote in post #18151873 (external link)
Kepi's Graduation Picture


Pentax 6x7 tripod mounted 200mm 1/30 f4 fuji film 220 Metz 60CT-1 OC right 4x4 reflector direct rear of subject

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1/30 hardly HSS :)


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nixland
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Oct 09, 2016 10:53 |  #476

Tomi Hawk wrote in post #18151873 (external link)
Kepi's Graduation Picture


Pentax 6x7 tripod mounted 200mm 1/30 f4 fuji film 220 Metz 60CT-1 OC right 4x4 reflector direct rear of subject

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Can you explain how you trigger metz flash on hssmode at 1/30 second ?




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fjhphotography
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Oct 09, 2016 14:10 |  #477

BTS video from the shoot:
https://www.youtube.co​m/watch?v=iJZ8-SgG59A (external link)

Lighting:
One Flashpoint Zoom TTL Speedlite on 1/8th power in a 38" Glow ParaPop double diffused above and to the right set off by another Zoom speedlite acting as a transmitter.

Exif:
Canon 6D + 135L
f/2 - 1/500th - ISO 400

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bobbyz
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Post has been last edited 8 months ago by bobbyz. 4 edits done in total.
Oct 09, 2016 14:13 |  #478

^^ Nice though I don't like the hot spot on her nose but any reason to go 1/500 and ISO400? Also I prefer to use longer pole to make it much easier for my assistant.

Thanks for the video.

Edited:- Watched the video, nice. Still don't get why would I need HSS. Regarding hot spot, was your flash on wide angle setting? When I used to use hot shoe flashes I preferred that they would face back and use the bounce, like from softliter.


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fjhphotography
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Oct 09, 2016 14:21 as a reply to bobbyz's post |  #479

Thanks! Good feedback about her nose. I used a high shutter because my hands weren't so steady at the moment. I have shaky hands that act up every now and then. That day I just kept moving too much when pressing down the shutter. Later for the last few photos in the video I was fine enough to go slower. My hands are weird, lol.


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bobbyz
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Oct 09, 2016 14:45 |  #480

I am same way. That is why I kept wishing that Canon would someday add IS to 135L. But they never did.


5dmk3, 35L, 85L II, 300mm f2.8 IS I, 400mm f5.6
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Lets See Your OCF HSS Outdoor Portraiture.
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