Not Your Everyday Banana

by Bart Arondson

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If you don't want flash reflections in the window, and you don't plan to use off-camera flash with umbrellas etc, I suggest to turn the strobe's head so that it points at a wall (nearby) or the ceiling. I think the bounce will give you plenty of light, and diffuse its direction at the same time. You'll probably want to set the strobe to maximum power, to get ...


If you don't want to use the flash because of reflections you will need to adjust how your camera is metering the scene. You need to use spot metering on your subject so you camera will expose you subject properly.


"Feathering" is sort of a short-hand term in this usage. What you are doing with the light is often similar to feathering. That is, you are moving the light in relation to the subject so that the subject is lit by the indistinct edge of the lighting pattern. That's something that's "more real" when using hard lights, and it's mostly about controlling the ...


Not sure the graphic is helping here, but the essential idea behind feathering is that you use the edge of the light source rather than the center of it to illuminate your subject with the essential premise that the light at the edges of the source are softer and more diffuse. The effectiveness of that is dependant on the actual light source being used. The ...


Editing out the eyes removes a metric tonne of information that might have been helpful in answering your question — please don't do that if you're asking about studio lighting problems — but there is still something to be seen in the photos you have posted. Apart from the makeup and post-processing that have already been mentioned in the comments, it's ...


You could use a digital camera to improve accuracy of eyeballing. Set its White Balance setting to "flash WB" and take a picture of a custom WB target (a gray card, white paper, bride's dress etc), without actually using flash. Switch the camera to playback that picture, and find a gel from your pack so that the WB target, viewed through the gel, looks the ...


There are colour meters, like the Sekonic C500, but they've never been cheap. Even a used Minolta will set you back a bit. And they're far more accurate than you really need; a few 10s of CC difference between ambient and flash doesn't make enough difference to warrant the trouble unless you are working on something that is truly colour-critical (like ...

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