Train to nowhere

by Jorge Córdoba

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4

When presented with this situation I've usually hired a VAL (Voice Activated Lightstand.) VAL's are a self-propelling vocally directed support system, they come with built-in collision avoidance systems and fit well into most cars. They are also compatible with most types of light (within certain weight limits) and with the monopod boom suggestion ...


3

Higher end studio flashes tend to be (in order from most to least amount of impact on a typical studio shoot): More powerful. They can output more light than their speedlight/speedlite couterparts. Capable of higher quality light. The light they output is more evenly distributed along the visible spectrum in the way natural light is and even at different ...


1

You can put the flash on a tall monopod, and then use one hand on the camera, and one hand on the flash, like this guy: https://idigitaldarwin.wordpress.com/2012/05/20/aggressive-gear-pt2/, If you find it too heavy, Use a tripod for the camera and two hands on the flash.


1

Well I don't know if that is what you want to achive or a result of a photo of yours you want to improve. I will only coment that for low key photos probably the shoot through umbrellas are not the best option becouse they spill a lot of light. I'm imagining the violin and the face photo, and I supose you want more contrast, the dark side of the face as ...


1

Just me, but I'd say, you're missing the skills and practice, not the tools. Your gear is a pretty good basic three-light setup (assuming you just didn't feel like listing the stands and swivels). You have umbrellas, and a 24" softbox, and while they might be a little small, they're still pretty decent-sized. The main thing you have to learn here is that ...



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