Serene Life

by garik

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That comes down to color temperature of the ambient light. Flash always has something similar to daylight (5500-6500K), so you need to use conversion gels from daylight. Most useful gel is CTO (color temperature orange), which will color daylight to tungsten (3200K). Usage is as follows:Stick CTO gel on flashSet color temperature to tungstenShoot This has ...


Soft boxes typically have a more focused and sometimes more powerful quality of light while remaining soft. The biggest reason you might want to use a soft box over an umbrella is to control the spill of light. Where an umbrella will reflect light into a scene as well as transmit through the material, a soft box will force all light to either die or be ...


Optically, all this should do is reduce the output power of the flash. The filters on the sensor itself are going to make it so you only get the red green and blue on each pixel. This device would just absorb a bunch of the light that could reach the subject. For example, some of the light to bounce off a red part is going to reach a blue sensor and not ...


To remove light. If you're shooting outside, or in a place where there's lots of background light being bounced around, it might not be enough to place an item to create a shadow onto your object, since light reflected off of that item might still give you tints or light you don't want. A black "reflector" creates shadow and doesn't reflect light (or as ...


I have the Lumiquest Softbox III that's mentioned, and I find it useful as a super-portable softbox that's better than nothing. Given the option to have a huge softbox that would be my first choice, but the small softbox, placed very close to a subject, works really well and provides a much softer directional light than one would get with a bare flash or ...


This kind of flash diffuser produces a "bare-bulb" effect. It's not like a softbox or umbrella, which works by effectively making a larger light source. Instead, it makes the light from your flash less focused, so it's diffused by bouncing off walls and other objects. Normally, a hotshoe flash works like a spotlight — it focuses its output in a cone. That's ...


Basically, it's to subtract light. It can reduce bounced light or provide isolation of your subject to make it stand out more. I do this all the time with things like smoke photography because it eliminates stray light and provides a clean, dark, background for the smoke to stand out. For example:


You have more control over spill and hot spots with a softbox. The hot spots are much less significant with a softbox.


It will reduce the total amount of light that your flash can put out. It will also use more power for the same amount of light hitting your subject. When indoors, if your flash can bounce/swivel but the wall is further away, you will probably be better off bouncing without a diffuser. Harsh shadows are due to a small apparent light source (light ...


Yes, a closer light will fall off faster due to the inverse square law. For a very close light, one cheek of your subject will be relatively much closer than the other. With a larger light further away, the distances will be much more similar, so less fall off. This will make a difference to the apparent softness of the light.


Hard light (i.e. a single bare lightsource) from underneath. Look at any old black and white horror film and you'll see this technique used. Or for a more modern example of the [mis]use of this technique see Jill Greenberg's photos of John McCain:


An octabox will give you nice round catchlights and produce generally more natural looking highlights and reflections. The straight edge of a softbox often sticks out when shooting with reflective surfaces more than a more organic curve or circle. On the other hand softboxes are easier to mask and gobo due to the straight edges, and more suitable to certain ...


There are a few reasons that I'm aware of to combine soft-box and an additional diffuser: With smaller softboxes and hotter lights (read: flashes) the softbox isn't always able to completely diffuse the light source, which causes a 'hotspot'... Essentially the center of the diffusion 'square' is brighter than the edges. It's better than a 'nekkid' flash, ...


A beauty dish gives a softer light than an unmodified flash, but not as soft as a softbox or shoot-through umbrella. This means that you can control the light more than when using a softbox. A beauty dish is often used in portrait work, and can be flattering when used as a light on the subject's face, where it can give a nice balance between even ...


IMO, it's mostly a waste of time to even try. It's color is going to shift over time, and if it's like most things that are "white", it'll include some "brighteners" -- fluorescent dyes, so the ultraviolet content in the light makes it glow a bit. These mean the color of the fabric varies based in the light (specifically its UV content). Instead, therefore, ...


catch lights: round/octagonal with umbrellas, square with softboxes ease of setup - umbrellas are generally much easier to set up and attach to a stand stability - umbrellas tend to catch the wind outdoors and tumble more than soft boxes spill - umbrellas will spill more light which can be a problem in close quarters (however there are so-called umbrella ...


A snoot would have stronger edges on the shadow, but then it depends on the size of the grid also. You can check this comparison of different light sources and this nice setup.


A regular softbox is not going to fit on this type of light. They are designed for strobes with a single bulb which acts as a point light source and attach via a small hole in the back. This light seems to consist of a series of florescent tubes and is thus a much larger lightsource to begin with, and will be pretty soft in it's standard configuration. You ...


It looks like the key was relatively big light on the right side and above the eye level of the model (see reflection in the eyes), I'd say 60 degrees off camera axis and quite close. The falloff might be further softened by some fill light. (David Hobby tends to use ring flash for that purpose.) (Also note that for softness of shadows, it's not importat ...


One option is called "bookends"; 4x8 sheets of foam board, hinged together with tape. Leave one side white and use it as a reflector, paint the other side black and use it to eat light.


As light intensity falls off faster when you're close to the light source, you can minimize the effect of wall/ceiling reflections by putting the umbrella as close to your subject as possible. Another very low cost option is to wait for the night and shoot outdoors.


Lastolite make an ezybox which is pretty "good" but it really depends on how you term "good". Do you want: Small when collapsed Durable and long-lasting Big (bigger the light source, the softer the light) Affordable? Have you also considered just using a shoot-through unbrella?


There's only one disadvantage that it may not have the effect you are looking for. A diffuser spreads the light in more directions than the flash illuminates without the diffuser. Reasons why this might be unhelpful include: You end up with less light going in the direction the flash is pointing. If you are short of light anyway (e.g. the flash is the ...


Let's put it this way: even a cheap softbox is better than nothing. That said, the larger the softbox, the better, although it will look a bit odd on your flash. (I have one that's like 8in. square.) And, in those situations where you don't have much else, it is better than nothing. Like @dpollitt says, I would first attempt to bounce the flash, but when it ...


I see an equal number of red, green, and blue dots - meaning if you looked at this from sufficient distance, just like looking at TV pixels, this umbrella is really GRAY. Any reflected light from it is also going to be essentially gray unless it's focused as it is in the picture. Meaning the reflection from this will be white light with an equal amount of ...


You're correct. When the black covering is on, the umbrella is intended to reflect the light. When the black cover is off, you change the orientation of the umbrella so that your light goes through it instead (shoot through). Your linked item describes that in the product description. It's a handy feature to have (I have a couple of the Paul Buff ones) ...


White tracing paper, or white tissue paper (used for wrapping) works really well. I found that tracing paper was more expensive than white tissue paper, so I went with the later. With regards to color cast, by using a greycard, and your camera's white balance setting, you can get around most basic color casts. The downside to paper is that it's very easy ...

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