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Thanks for this it is really helpful for someone who is getting started in the world of photography. I am happy to see that all of my video equipment will be useful. I have a large number of video studio lights and I was afraid that they wouldn't be used in photography.
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Here's an image from a studio shoot I did on last year's "American Idol", wild hair phenom, Sanjaya Malakar, the Seattle-based finalists who will be off to New York City to start recording. Basically I used three speedatrons, two with photoflex softboxes. One from the side, another one 3/4 from the left front side and a bare one sat on a light stand from the back to highlight his hair.
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url:www.jimbryantphotography.com http://pa.photoshelter.com/c/jimbryant http://jimbryantphotography.blogspot.com/ (3) EOS1D MKIIs', (1) EOS1Ds MKII, 14mmf2.8, 16-35mmf2.8, 28-70mmf2.8, 70-200mm f2.8, 300mm f2.8 and a 400mmf2.8. |
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For example, in Scheme 13, my best assumption would be without the gobo the flash was either reflecting something they didn't want reflected or was washing out the reflection so they put something there to block it. Hard to say without being able to see an actual set up shot of how it was angled. Typical uses of gobo: 1: Prevent lens flare on lights intended for the background 2: Prevent washing out of solid objects when lighting for reflective objects (Common example is wine bottle and label) 3: Vice versa, prevent direct reflection on reflective objectives when lighting for non-reflective surfaces 4: To make pretty shadows 5: To keep a background dark when lighting for the subject Here's an example of number 5: ![]() My designer friend wanted a strong dominant shadow in the background to capture some pinup style, but I wanted broad lighting to create strong cross shadows without any rim lighting to try and capture a flattened pseudo vintage painted look. My solution was to use my ringflash as a fill light to create the even lighting and strong shadow, and use my main flash as a broad side key light. I then stuck my 32 inch reflector black side toward the flash right next to it to prevent the key lighting from spilling and washing out the shadow in the background.
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But Mom, Pentax IS rebellious Pentax K-7, K20D Pentax SMCP-FA 35mm f/2.0 AL -- Pentax SMC 50mm f/1.7 -- Pentax DA 50-200mm f/4-5.6 ED -- Sigma 28-70mm f/2.8 EX DG IF Aspherical -- Pentax DA 18-55mm f/3.5-5.6 WR |
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Thanks for the links - I wish I knew more about lighting...but no time to read...or I'll find time and get in trouble for toooo much photography
- lol - I need a more understanding hubby
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~Wannabe Canon Rebel XTi & 2 broken p&s NOW 1MP kid tough camera
Canon EF-S 18-55mm f/3.5-5.6 II, Canon EF 50mm f/1.8 II, Canon 430EX Speedlite Photoshop Elements flickr |
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Thank you, that is one of the better example setup link that I have seen.
Would love to see more with diagrams showing elevation of the scene as well. One above and one from camera position. Thanks again JM
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Capturing Moments In Time D700, Nikonos, Hasselblads |
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That's essentially how I did this set: ![]() There's some talk about strobes being bad for babies anyway (which may be hogwash, but people also get very overprotective, so facts can matter less), so striplights as relatively daylight neutral constant lights are a good thing. Secondly, you'll get more attention for a question like that if you start a new thread, so don't be shy!
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But Mom, Pentax IS rebellious Pentax K-7, K20D Pentax SMCP-FA 35mm f/2.0 AL -- Pentax SMC 50mm f/1.7 -- Pentax DA 50-200mm f/4-5.6 ED -- Sigma 28-70mm f/2.8 EX DG IF Aspherical -- Pentax DA 18-55mm f/3.5-5.6 WR |
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I shoot my sister's kids next to some big French doors and use reflectors on the side opposite the doors (a sunny or bright day helps). I prefer to use natural light rather than artifical lights (flash) - you need less kit and the light is softer. But starting a new thread specific to your needs is a good idea.
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inaGoodLight.com |
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