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FORUMS General Gear Talk Flash and Studio Lighting 
Thread started 11 Jan 2011 (Tuesday) 14:25
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Talley
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Dec 22, 2016 05:05 |  #10396

F2Bthere wrote in post #18220329 (external link)
The bare bulb sends light in a way that fills the modifier. This is what most modifiers are designed for. You can think of it as behaving somewhat like a bare lightbulb.

Speedlights are tiny and have to be designed to take maximum advantage of the (relatively) minimal amount of light their combination of tube and capacitors is capable of generating. The way this design works is that there is a focused reflector designed to send as much light forward. In front of the tube and reflector is a fresnel type lens which is designed to focus the light forward. This is, in effect, more like a spot light or a flashlight.

So, if you imagine you have hung up a sheet between you and your subject and you pull out a focused flashlight and shine it at the sheet, you will have a fairly small circle on the sheet and you can imagine the light will be brighter in the center. Now try the same with your lightbulb and the sheet will be more evenly illuminated. Now imagine if you aim your flashlight at an angle so the circle becomes a bigger shape.

Feathering the perfectly filled light modifier at the subject will generally give you a more flattering light. If the modifier is less perfectly filled, feathering helps even more.

Makeup with oil will exacerbate the problem with a specular highlight.

Understood.

I did feather to the best of my ability. at no point did I directly aim the modifier at the subject.... always above them. I need to practice more and use the right light source


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BallerStatus
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Dec 22, 2016 13:37 |  #10397

Doing directly overhead shots of food is surprisingly difficult. Getting everything lined up while stretching to get the most height you can and still being able to see out of the viewfinder is a PITA. Half the time you are blocking your own light with your body holding the camera. If you set the camera on a tripod, often the tripod legs can get in the way or cast shadows.

So after some brainstorming, it finally clicked how I was going to set this up. I set the "table" (some custom boards) on the floor, set the food in the middle and put the M on an old tripod my dad gave me with a sandbag on top to hold it steady. Using the back screen as my viewfinder made it super easy to line up the dishes. I touched to focus and set the timer so that I could step back and not block any light.

Av mode f8, ISO 100.

Setup and some results.

IMAGE: https://c8.staticflickr.com/1/591/31601980695_80dc8e71b2_b.jpg
IMAGE LINK: https://flic.kr/p/Q9yp​S8  (external link) IMG_6061 (external link) by Bridgesphoto (external link), on Flickr

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RicoTudor
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Dec 22, 2016 15:24 |  #10398

Talley wrote in post #18220286 (external link)
.. my point is shouldn't all strobes basically have a beauty dish type deflector

Nothing is gained if the SB is properly designed and deployed. With double diffusion and light going in every direction, no hot spot is evident. That said, I prefer a crafted hot spot from my (softer) keys, and have several ways to get there. With a SB, I use single diffusion and introduce some kind of directional and irregular pattern from the light: Speedlites are useful in this role if the power is sufficient.


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smythie
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Dec 22, 2016 15:45 |  #10399

BallerStatus wrote in post #18220790 (external link)
Doing directly overhead shots of food is surprisingly difficult. Getting everything lined up while stretching to get the most height you can and still being able to see out of the viewfinder is a PITA. Half the time you are blocking your own light with your body holding the camera. If you set the camera on a tripod, often the tripod legs can get in the way or cast shadows.

So after some brainstorming, it finally clicked how I was going to set this up. I set the "table" (some custom boards) on the floor, set the food in the middle and put the M on an old tripod my dad gave me with a sandbag on top to hold it steady. Using the back screen as my viewfinder made it super easy to line up the dishes. I touched to focus and set the timer so that I could step back and not block any light.

Av mode f8, ISO 100.

Setup and some results.





QUOTED IMAGE
IMAGE LINK: https://flic.kr/p/Q9yp​S8  (external link) IMG_6061 (external link) by Bridgesphoto (external link), on Flickr

Nice and simple setup, thinking outside the box a bit. And great results


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BallerStatus
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Dec 22, 2016 17:04 |  #10400

Thank you! I tend to go for simple setups, helps me focus on what is going on with the subject :).


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dodgyexposure
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Dec 22, 2016 17:07 |  #10401

BallerStatus wrote in post #18220790 (external link)
Doing directly overhead shots of food is surprisingly difficult. Getting everything lined up while stretching to get the most height you can and still being able to see out of the viewfinder is a PITA. Half the time you are blocking your own light with your body holding the camera. If you set the camera on a tripod, often the tripod legs can get in the way or cast shadows.

So after some brainstorming, it finally clicked how I was going to set this up. I set the "table" (some custom boards) on the floor, set the food in the middle and put the M on an old tripod my dad gave me with a sandbag on top to hold it steady. Using the back screen as my viewfinder made it super easy to line up the dishes. I touched to focus and set the timer so that I could step back and not block any light.

Av mode f8, ISO 100.

Setup and some results.





QUOTED IMAGE
IMAGE LINK: https://flic.kr/p/Q9yp​S8  (external link) IMG_6061 (external link) by Bridgesphoto (external link), on Flickr

That's a nice simple setup, and good results.

If you are doing this shoot for a client, who may end up displaying the results side by side, you might like to synch your white balance, so that the boards are consistent. Of course, you might choose to have them slightly different colours to better match the foods.


Cheers, Damien

  
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BallerStatus
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Dec 23, 2016 08:35 |  #10402

You are right and that's something that bugged me a little. We shot these over several hours and the WB changed slightly as the sun went down. These will not be side by side, but rather will be used for one image facebook posts and a variety will be used for banners on the windows. The overhead shots were just a fraction of what I shot, so there are many more where the WB was more consistent (used flash) and those are more likely to be used together.


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Talley
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Post edited over 2 years ago by Talley.
     
Dec 23, 2016 08:52 |  #10403

BallerStatus wrote in post #18221533 (external link)
You are right and that's something that bugged me a little. We shot these over several hours and the WB changed slightly as the sun went down. These will not be side by side, but rather will be used for one image facebook posts and a variety will be used for banners on the windows. The overhead shots were just a fraction of what I shot, so there are many more where the WB was more consistent (used flash) and those are more likely to be used together.

I find that even w/ flash the WB can vary up to around 400k It doesn't make a huge difference but side by side stuff you can tell. I'll always have to tweak it some. For these shots I would of stuck to flash for consistency and also put black fabric down underneath the wood to hide the carpet but that aside these are really great images and I appreciate you sharing your technique!


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tcphoto1
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Dec 23, 2016 09:03 |  #10404

Color consistency is only acheived by shooting a color card on the first frame of each setup. It gives you a starting point for the shot and a calibrated is a must, why guess or eyeball it? If lighting is the most important element of photography, why make it the weakest part of yours? Even if you're on a budget, a basic kit from someone like X Rite will at least a good start.


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Talley
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Dec 23, 2016 09:34 |  #10405

tcphoto1 wrote in post #18221547 (external link)
Color consistency is only acheived by shooting a color card on the first frame of each setup. It gives you a starting point for the shot and a calibrated is a must, why guess or eyeball it? If lighting is the most important element of photography, why make it the weakest part of yours? Even if you're on a budget, a basic kit from someone like X Rite will at least a good start.

True statement which is why I employ the Xrite passport before shots and the Xrite Color Munki to calibrate my display and also create printer profiles for my Pro-100. Color mangement is almost an entirely independent hobby lol


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golfecho
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Dec 23, 2016 17:27 |  #10406

Talley wrote in post #18221562 (external link)
. . . Color management is almost an entirely independent hobby . . .

Sooo true!


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dmward
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Dec 24, 2016 08:42 |  #10407

Talley wrote in post #18221562 (external link)
... Color mangement is almost an entirely independent hobby lol

If one is serious about photography and especially if doing product photography for a client. Color management is just as important as any other part of the process.

Reasonable color management includes, calibrating the camera, monitor, printing process and then following an established workflow to ensure images shot with the intent of being used together have a common color balance. Often that means adjusting color in processing to create the match.

Color management should be the foundation of one's workflow rather than a hobby.  :p


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AnnYoung
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Dec 27, 2016 07:18 as a reply to  @ post 18218478 |  #10408

Perfect images!


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mhickman
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Dec 27, 2016 10:19 |  #10409

From a maternity shoot yesterday.

Canon 6D, Canon 85mm f/1.8, f/9, 1/125 sec., 85mm, ISO 800 (yes I could have stopped it down, but I wanted to 1. Make sure foreground was in complete focus and 2. Mom & dad were more than a blob). Neewer flash on TTL with Yongnuo triggers in 31" octabox.


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Alveric
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Dec 27, 2016 12:19 |  #10410
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mhickman wrote in post #18224706 (external link)
From a maternity shoot yesterday.

Canon 6D, Canon 85mm f/1.8, f/9, 1/125 sec., 85mm, ISO 800 (yes I could have stopped it down, but I wanted to 1. Make sure foreground was in complete focus and 2. Mom & dad were more than a blob). Neewer flash on TTL with Yongnuo triggers in 31" octabox.

thumbnail
Hosted photo: posted by mhickman in
./showthread.php?p=182​24706&i=i31894717
forum: Flash and Studio Lighting

Quite an original concept. Neat.


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Show us your setup and the final result!
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