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FORUMS General Gear Talk Flash and Studio Lighting 
Thread started 24 Sep 2013 (Tuesday) 18:54
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How do you get this top only lighting?

 
dave63
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Sep 25, 2013 23:59 |  #16

hes gone wrote in post #16323794 (external link)
=he's gone;16323794]i'm gonna need some pliers and a set of 30 weight ball bearings.

DAMMIT! LOL I was JUST gonna post this..:cool:



  
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DocFrankenstein
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Sep 26, 2013 00:26 |  #17

dmward wrote in post #16323161 (external link)
Yes it can be done in camera. But most digital photographers don't have the discipline and experience to do it.

If that's true, most digital photographers aren't photographers at all.


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Sep 26, 2013 12:46 as a reply to  @ DocFrankenstein's post |  #18

I do believe I got this with a little led light directly overhead.

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dave63
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Sep 26, 2013 14:27 |  #19

I've long wanted to try those on my kit. How do they compare to the stalwart 57...?



  
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Whortleberry
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Sep 26, 2013 15:23 |  #20

DocFrankenstein wrote in post #16326053 (external link)
If that's true, most digital photographers aren't photographers at all.

Many a true word is spoken in jest.


Phil ǁ Kershaw Soho Reflex: 4¼" Ross Xpres, 6½" Aldis, Super XX/ABC Pyro in 24 DDS, HP3/Meritol Metol in RFH, Johnson 'Scales' brand flash powder. Kodak Duo Six-20/Verichrome Pan. Other odd bits over the decades, simply to get the job done - not merely to polish and brag about cos I'm too mean to buy the polish!
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24Peter
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Sep 26, 2013 18:16 |  #21

Scatterbrained wrote in post #16326013 (external link)
The distance from the light source is what is going to create the rapid falloff. A single softbox almost directly on top of the camera angled back with a mirror in front to light the lens. I did a similar shot not too long ago with a single softbox practically on the camera, and mirrors front and back to add highlights. Using an AB1600 at about half power yet I was still able to get crazy falloff, because the light was so close. Just to give an example, in this shot the softbox was aimed straight down and was about an inch or so above the camera. . . . .

I could have been more accurate so thanks for the clarification. It is distance of source to subject at a given power level that will determine light falloff. This is because the closer the light, the less power needed to get a proper exposure.

...... Granted another light could be used for the lens, or a white board. Looking at the reflections in the front of the lens it almost looks like maybe a light from behind, feathered to highlight the lens, bounced off of a white card in front of and just behind the lens. Wow, typing that out it almost sounds like one of those "second shooter on the grassy knoll" conspiracies. :confused:

Not a conspiracy at all - I think that's exactly how the front element of the lens was lit. One single light above the camera with reflected light filling in from the front.

I stand by assertion this is a very simple lighting setup that can be done (mostly - always some PP needed) in-camera in five minutes. I'm not sure why others insist more is involved.


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Whortleberry
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Sep 27, 2013 05:38 |  #22

24Peter wrote in post #16327875 (external link)
I stand by assertion this is a very simple lighting setup that can be done (mostly - always some PP needed) in-camera in five minutes. I'm not sure why others insist more is involved.

It's called "Many decades of thinking 'Oh, I can dash that off in five minutes' and then discovering that it's actually rather more complicated than that." AKA 30/40/50 years of bitter and hard won experience.

It takes far, far more than 5 minutes to get the average Art Director to even begin to explain the concept and look they are wanting you to achieve "in 5 minutes". For people who's craft is communication, a lot of them are sadly lacking when it comes to effective rather than conceptual communication. Then, as FoodGuy mentioned, all the other interested parties chip in their thoughts and that quick pack shot becomes a marathon.

Even when you eventually do reach a consensus, there is still the whole business of finessing the shot. I do love the idea that it can be done in 5 minutes though!


Phil ǁ Kershaw Soho Reflex: 4¼" Ross Xpres, 6½" Aldis, Super XX/ABC Pyro in 24 DDS, HP3/Meritol Metol in RFH, Johnson 'Scales' brand flash powder. Kodak Duo Six-20/Verichrome Pan. Other odd bits over the decades, simply to get the job done - not merely to polish and brag about cos I'm too mean to buy the polish!
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Bonbridge
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Sep 27, 2013 07:22 |  #23

I did something like this myself 1.5 years ago:

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Sep 27, 2013 10:18 |  #24

dave63 wrote in post #16327438 (external link)
I've long wanted to try those on my kit. How do they compare to the stalwart 57...?

Lol! Yeah I've been an Audix fan ever since I picked up an i5 and put it on top of a snare. Now my 57 is on the bottom. Recorded a band last night and had these bad boys the D2 & D4 on the toms. They just kill.


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dmward
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Sep 27, 2013 13:06 |  #25

24Peter wrote in post #16327875 (external link)
It is distance of source to subject at a given power level that will determine light falloff. This is because the closer the light, the less power needed to get a proper exposure.

Proximity of the light to the subject does affect fall off. Intensity affects only the exposure. The inverse square law is not about initial volume, just about distribution over distance.


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TweakMDS
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Sep 27, 2013 13:16 |  #26

I'd use a gridded softbox overhead - on a boom. If you use a small softbox (and you can), you don't need a full boom stand, but can get away with a reflector holder on a normal lightstand. Just avoid the 5 section ones unless you keep a close eye on it and don't risk models underneath it.
On closer inspection there also seems to be a fill card near the front element. The black is just a matter of ratios, but it's always a good idea to have some reflectors and black cards (negative fill) around when doing product photography. Matte black camera equipment is relatively easy with textures though, so you can get away with a lot.


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How do you get this top only lighting?
FORUMS General Gear Talk Flash and Studio Lighting 
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