31

Film makers avoid a transparent film because: Bright exposing light will penetrate and then hit the pressure plate. The pressure plate has a flat black coat. Nevertheless, highlights are bright and will reflect, re-exposing the film from the rear. This causes a halo like effect surrounding highlights called a halation. To avoid, modern films have an opaque ...


15

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 ...


14

Tapetum lucidum is not your regular mirror. It's a retroreflector. Or, to be precise, an incredibly numerous array of tiny retroreflectors. It doesn't just shine back, it shines every "ray" of light precisely in the same direction it came from. To have an effective tapetum for your camera, a single "grain" of reflector would have to be no larger than a ...


12

The most available large sheet material is corrugated cardboard. If you have a single layer sheet, you should first glue at least another single layer sheet on top of it to make it more stable. Rotate one of the sheets by 90° so that the "grain directions" of the layers cross each other. Like plywood. For the reflective surfaces: White paper provides a ...


8

Automotive windshield reflectors can function well as photographic reflectors. The best ones are the shiny silver accordion-fold ones (they often have a "bubble wrap" -like core).


7

A large piece of foam core board (or mat board) is good for portraits. Clamped on a stand opposite of a soft box (key light) just outside of framing. It could be black on one side for absorbing light for more dramatic shadows. Or paint it gold or...?


7

I know they have specialty cases, soft and hard, The "special cases" are often fairly rudimentary canvas bags that just happen to be long and skinny, but they don't necessarily offer a lot of protection. Are umbrellas sturdy enough to survive in a backpack with light stands and lens in pouches? Think of a regular rain umbrella. A good quality lighting ...


6

I am not sure about who used the Beauty Dish for photography first, but the principle of evenly illumination via secondary reflection is accredited to danish mathematician Piet Hein, who constructed the R(a) - lamp in 1931 to alleviate the harsh direct light from the electric bulb in reading-situations. source: http://www.futuraoslo.no/index.php?/produkter/...


6

To my understanding, a Beauty dish is not really about making the light softer. That's what softboxes / bounce are for. The true value of a beauty dish is that it focuses the beam of light in a 3D point/zone, thus simulating a virtual light at that point. This virtual light has the same property as a real one. Getting this virtual light right in front of ...


6

Do you have a camera that has a usable ISO 1600? (Hint: if you're using a full-frame camera of recent vintage, the answer is "yes". The answer is also "yes" for a goodly number of smaller-sensor cameras these days.) If you do, and you also own a "full sized" on-camera flash (Nikon SB910, Canon 580EX/600EX RT, or an approximate equivalent, whether your camera'...


6

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 ...


6

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) ...


6

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 have ...


5

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 ...


5

For a large reflector go to a stationery shop and buy a large sheet of white paper for card. It's not as portable or durable as a proper reflector, but does the job.


5

When artificial lights are used in photography they're commonly diffused such as with a softbox. If the light has to be bounced off something to get it to the right place, the diffusing can be combined with the reflecting. The difference in reflectivity isn't that great - no more than about than a stop, depending on how much of the scattered light is ...


4

This question (and its answers) is wa-a-a-ay old, but it could stand to have another couple of good reasons thrown in for good measure. The existing answers are good, but they don't touch all of the bases. The first addition is more pertinent to product photography, especially when photographing glossy surfaces (glass and polished metals, in particular). In ...


4

Buy a "space blanket" from a sale bin. Search for that on the web and it will turn up places to buy for a buck or so. Fold it over any convenient frame, board, wire loop, or in-situ surface. Secure with gaffers tape ('duct tape'). The tape costs more than the silvery material. This is far more durable than paper, foam, etc. and a whole blanket-sized piece ...


4

Yes, it is possible. Two factors need to be considered: The power of the flash and the sync speed of your camera. Flash power (Guide number) is being discussed in other answers. Consider that adding a softbox reduces the effective power of any flash. That is because the softbox spreads the same amount of light over a greater area, but also because part of ...


4

The reason for stacking diffusers is generally to make the light from a modifier more even. It's a decent strategy if you're getting "hot spots" on your subject because the light from a flash is coming through the middle of a less-than-ideally-designed modifier hotter than it is coming off the edges of a modifier. That's why many of the best soft boxes, ...


4

Softness and solid angle In order to get the softest light, you need to have the largest solid angle (like angle but in 3D space) between the subject and the light source. You can increase your solid angle or softness by 1) increasing the light source size : C0 to C1 or 2) having the source light closer : C0 to C2. I made C1 and C2 having same solid angle: ...


4

This is a common issue when someone doesn't understand how modifiers actually work. Basically, your lights/modifiers are too far away to be "soft." Anything over ~ 5x the diameter/diagonal of the modifier makes the modifier entirely ineffective. For an event like this it is unlikely that you will be able to place lights/modifiers, that are large enough, ...


3

The problem you had is that your flash was at it's maximum output. No amount of flash exposure compensation will fix that. For maximum flash effectiveness you want your shutter speed at exactly the maximum sync speed even if it does support HSS. If that's still not bright enough at maximum flash power output, then you have options: Move the flash closer ...


3

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 ...


3

The ability to remove the umbrella cover gives the umbrella more flexibility. If you are asking why would you shoot through the umbrella, one major benefit is you can put the white surface of the umbrella closer to your subject. Using the umbrella in its reflective mode, the white surface part of the umbrella will be farther from your subject - the ...


3

Yes, with the black straws, it is going to absorb most of the light that does not go directly through the straws. The smaller in diameter the straws, the more direct the light has to be traveling to get through and the more light will be absorbed. If the straws were white, it would actually get brighter as the reflected light would be more focused, but it ...


3

I have succesfully used a fabric called "Taffeta" (in my Spanish-speaking country, Tafetán). It is used for clothesmaking, so tailors and seamstresses may know where to buy or even be willing to give away small pieces. It is not expensive at all, but you may need to make a frame for it (Cardboard and pvc tubbing are my favorites. Thick metal wire a close ...


3

A black reflector has several usages. The main one is to block light when you have a light environment and you want darker shadows on that side. On this example, the "studio" has white walls, and you want a more dramatic shadow, so you need to "absorb" some of the lights on the shadow side, so it does not bounce back. It is very important when taking ...


3

See the inventgeek.com "DIY 40 Inch Silver Reflector" article for the full low-down, but he shows you how to build a full on, circular, metallic reflective, folds-down-into-a-smaller-circle reflector for what he claims is about $8 in materials. There are lots of pictures on the post. The outer frame is made of fish tape. To quote: Scary Springy Steel ...


3

The foil reflector gives a more soft and diffused light.


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