Red and Blue

by Gordon

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5

Use a flash with rear curtain sync and a long shutter speed. The long shutter blurs the background and the subject. However, at the end of the exposure, the rear curtain synced flash fires, which essentially adds a second exposure on top. The flash is significantly brighter compared to the ambient light, but due to its limited reach, it only hits the ...


4

If the place has no ceiling, bring your own. White cardboard is an obvious cheap one. Styrofoam is lightweight and holds its shape better than cardboard (depending on the thickness of your cardboard. Any "professional" reflector will make you look more professional, but at a cost. For some clients it could be bad to show up with some cardboard. "Are you ...


4

The easiest answer is "time". You don't need to amplify anything: you just need to collect it for longer. The overall exposure of your photo is the amount of ambient light that is accepted through the camera's aperture for the amount of time the shutter is open. Presuming that your object doesn't move, simply take either one long exposure or a sequence of ...


4

The blue shadow is from light going through the blue-tinted transparent cover. Here are some suggestions: Put a secondary fill light where it can illuminate the background. You might position it behind the background, if that is translucent. Mount the objects on some type of hidden stand, such as one going through the backdrop, so that shadows fall ...


3

More light (from more directions) might help. I've got a light tent somewhat similar to yours, though its construction is translucent on all sides, allowing me to light it from the outside. I've had decent luck illuminating the tent with speedlites on multiple sides, and in some cases, the bottom, too (I put the tent on a glass coffee table and placed a ...


3

Taking polaroids at wedding receptions is nice. There are some things that you should be aware of: There's no polaroid film available any more. You can get modern film from the impossible project, but it does not develop as quickly as the original polaroid film. Waiting a long time for a polaroid image kind of defeats the point of using that technology. ...


3

I really don't understand well what is your experiment. There are a lot of factors to consider, for example diffraction, which varies depending on the size of the aperture for example. To "increase" the light source (optimize, actually) I would recommend a parabolic mirror. A headlight of a car could work. Another option is not to use a led light but a ...


2

You could use a fill light from a reflector or another strobe to illuminate the background a bit. Of course, that means additional setup time and expense. You could experiment with extending exposure, at least on the Canon, to reduce the brightness of the ring-light in comparison to the background (e.g. increase exposure time so that light keeps entering ...


2

If the number of shots you're doing is limited, I'd use multiple exposures, since you can pop flash into any corners and later blend areas from different exposures into a nice result. Use a tripod and make use of the ambient light as much as possible. You can bounce flash off the walls of course, but that may not appear natural. Or you can take along a ...


2

I work in the motion picture industry, I stopped using dulling spray due to toxicity. Especially around actors and crew. I have found using spray deodorant to be safer and easier to clean off. Smells better also. Find one that doesn't leave a white residue. arrid XX works best for me. It's also a lot cheaper than dulling spray


1

It depends on what you actually need, and what you actually want. You need some combination of exposure, such that the aperture, shutter speed, and sensitivity can actually capture an image of some kind. What you want follows from this, and informs your choices. How much noise is acceptable? How much of the object needs to be lit? (i.e., is is acceptable ...


1

I've done a few booths so far, with a fixed lighting system and some on-camera flashs, and I havent had it even once where the fixed lighting was actually used. The scenery of these images change so often that you should not worry about it, from single pictures to 6+ groups you will see everything and as the day passes (and probably the more booze is ...


1

Sure, some sort of "proper" lighting setup will give you better results than on camera flash... but as your friend is wanting photos of people with funny accessories on a polaroid camera, I suspect that he's not after your traditional formal portraits. Keep it simple, go with the on-camera flash and concentrate on getting fun images which capture the guests ...


1

In my opinion, leadership, creativity and flexibility are not best conveyed by the backdrop color of a headshot. Note that I said headshot, as that is what I would typically recommend for any resume/CV image. Instead I think that it is important to consider your audience. Are you(or the user of the image) applying for a position as a manager in a ...


1

Use opaque white acrylic glas and light id with diffused light (softbox or so) from behind/beneath. Use a dull one to avoid reflections. My example is with glossy/polished glass, not dull. That is because I did want the reflection (and because I did not have dull plate of that glass :-) ) http://fc-foto.de/27416430 Set: http://fc-foto.de/27389485



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