Lightnings taking a ride

by ceinmart

submit your photo


Hall of Fame
View past winners from this year

Please participate in Meta
and help us grow.

Tag Info

New answers tagged

0

Are your garments laying on the white background, or is the background back a few feet? White backgrounds back a few feet are farther from the light, and so will look gray, and need their own background light to light it to about the same intensity as the foreground. It is simply the usual practice. Put enough light on the background to look very white. ...


0

If you set exposure manually with a gray card, set a custom white balance and use a color checker passport to calibrate the camera you will capture the best colors your camera is capable of producing. Cameras are not colormetric devices. They do not accurately record colors. Adobe offers a free dng profile editor that you can download. This allows you to ...


1

When photographing still life with multiple light sources, reflectors and flags, I find that I if I happen to be using the camera’s on board spot metering, it rarely provides the correct exposure to bring out the colours that I consider to be true. I find, in general, the in-camera auto WB brings about the same results as a grey card and minor adjustments ...


3

To get colors right you need to color calibrate everything. You need to calibrate the camera with something like a color checker passport (for every lighting setup). You need your editing area to mostly color neutral (something colorful in your field of view while editing will throw your color perception off). You have to calibrate your screen with proper ...


1

The math on two fstops is the square root of the sum of the two squares, but I don't know about EV. If the lights were equal, and if they lighted the same overlapping area, twice the light is one stop additional. But you say the ambient is 3 stops down from the lamp, so it won't have much effect. This ambient adds less than 0.2 stop increase, not over ...


1

You can pretty much ignore the baffles. Just duct tape a CTO gel sheet/s to the inside of the softbox between the two diffusers. Been meaning to play with this for a while and it works nicely. I used a white lit background, set a custom white balance to cancel out the CTO and the background turned a lovely, evenly lit blue. Also used a grid to keep the ...


1

Looking at the shade from her hair and arm it looks like a single light was used. Looks like a beauty dish to me. I think I would go with just a single head in a Beauty Dish, with the dish being above and slightly left of the camera. I would angle it directly at her face, it seems that's where most of the light is going.


5

Despite the name of your modifier (Profoto White Softlight 20.5" Reflector), this is no soft light at all. The light source is far away and small enough to produce hard light on the subject. The most common property that makes light hard or soft is how smooth the shadows are. This can be seen from the shadow under the chin on the neck. The shadow has a sharp ...


3

My short answer is just move the model a little further from the background. The rest are just some additional opinions. An additional thing is subjective, because it is modifying the light style: It is moving the light source a bit to your right. In my opinion the light is a little "plain" because it feels too close to the camera. If you move your ...


14

Ruined? That's a great photo! (If you were going for a sort of Halloween effect.) The position of the key light – off to the side and elevated – was perfect for this subject, and is typical of how beauty dishes are used. Now, if you didn't want the shadow here are things to consider: Using a single source you can't have the subject against ...


0

Do you like apples or pears better? Photography is an arbitrary choice too, of style. The photographers using flash or studio lighting are in one camp, adding necessary and sufficient light for the purpose and situation (sometimes based on what will sell better). The available light people are in the other camp, thinking the situation should be retained ...


7

As a rule of thumb if you can do it in-camera then you should. If nothing else, getting that kind of mask right in post processing can be time consuming and fiddly. It all adds time to your workflow that you don't really need to spend. Do it with a backdrop and a coloured sheet - it'll be slightly more difficult to set up initially but once it's done once ...


1

Does "brighter lighting" mean you have control over the scene, or (like other answerers assume) you are referring to a hand-held flash? If you are lighting the scene, or can influence the lights being used for the situation, then by all means use brighter and better-quality light! If you can place remote slaves ahead of time, "more light" that way is good. ...


0

It depends. There are several competing factors to think about, such as: Having brighter lighting will kill any ambient light (if there is any). Obviously this is an artistic choice. Sometimes you might want this, other times not. Shooting at high power will increase your flash recharge time, possibly up to several seconds. If you are shooting people, for ...


0

It's sort of like the problem of not having a long enough lens to magnify a different object: you can use digital zoom, or crop ("blow up") the image in post processing, but the image degrades. You are using a digital trick to compensate for the lack of good light, or signal, coming into the camera lens in the first place. Better to use a telephoto. Same ...


3

You can realistically use either. However both come with their own limitations and drawbacks. If you use high ISO then your image quality will start to degrade, causing what is commonly referred to as noise in the image. This means people generally try to avoid using high ISOs when shooting photographs. On the other hand if you use brighter lighting then ...


0

Probably the best source of soft light is natural light through a window, doorway, etc. As AJ points out, it's about finding a large source of light. It's usually suggested that you use a north-facing window if you're in the northern hemisphere, since you'll get diffuse light as opposed to direct sunlight through the window.


5

I have a Godox V860C light and a Godox Cells II remote trigger. OK, from this, I gather that you have a Canon camera. The Godox V860C is an eTTL-II-capable flash, so if you want to use that capability, it's there. However, the Cells II triggers are manual triggers that do not communicate eTTL information, so with this specific combination you do not ...


2

A partial answer: Does E-TTL work when the flash is off shoe? I don't think it does. If so, does that mean the E-TTL is pointless whenever shooting off-shoe? You need to set the 3 parts to TTL mode: the flash, the trigger, and the camera. I put the flash in manual mode and on full power (1/1). I should be in manual mode, right? If any of the 3 ...


0

The Best thing i could suggest is to play with not only the lighting power settings but also to use the camera in full manual where you can adjust the exposure manually. Exposure is always controlled by the camera and the light is to help increase the brightness or fill in dark areas in the exposure. When i use my flashes, its always set lights then modify ...


2

The idea is to overpower the relative ambient light with the flash. So the first step would be to diminish the ambient light, with either shutter speed, ISO settings, and probably ND filter. If you use a fast shutter speed function on a flash, there is a chance the flash will not work with full power but a fraction, because it is using a series of bursts. ...


1

You could try using a Neutral Density (ND) filter to reduce the amount of light that enters the lens. This also allows you to have a more open aperture and get a shallower depth of field when shooting. The type of ND filter you should use depends on how dark you want it, but for outdoor portraits when it's sunny, you'd typically use a ND102 or ND103 filter, ...


1

I would consider a shoot through umbrella that also can be used with a cover as an umbrella to reflect the light to be the most versatile. For portraits you can do a lot with an umbrella and a bare flash, of course you'll need to flash units for that. On camera I wouldn't waste your money on a Fong Bong, just make sure your flash can rotate properly and ...


2

Without going into technicalities, I can provide some user experience. Having hired both reflectors for a previous job; firstly, the Zoom reflectors were a lot smaller, 7-8in in diameter and about 6in depth and the Widezoom reflector was a lot larger, about twice the size from what I can recall. The zoom reflector at position 10 gave a harder shadow than ...


0

Your friend probably wants pictures leaning back on the tree trunk, but it can be deep shade back in there (and green light, icky). Your best light will be out under the edge of the tree drip line, in the shade, but inviting open shade instead of deep shade. Maybe try some his way, but at minimum, try some of it the better way.


1

An easy way to experiment with the look of old films is using this online emulator and if you are interested in the technology behind it, parts of the source code seem available (make sure to read the license carefully, though, it's not "free" software). The whole thing is based on color lookup-tables, see also Pat David's blog: ...


1

It really depends on the angle of the sun at the time you take your photos and how much of the background is in the shade and how much is in direct sunlight. Anything from a small reflector to powerful studio strength flashes might be needed for fill light. To use f/2.8 at ISO 400 you're probably going to need some sort of neutral density filter unless you ...



Top 50 recent answers are included