Frederic Photography wrote:
My contribution to this wonderful thread !





Here is my simple but effective setup !

DO you know the F stops you use?

Quote :
DO you know the F stops you use?

Yep f5.6 !

BR_Photographic wrote:
ok I've got a simple but effective one for you...

clamshell set up, medium softbox on floor angled up around 45 degrees and gridded & socked beauty dish about 2 feet above model angled down... model is standing and about 2/3 feet from lights

Very nice.

NSE Films wrote:

I'm not entirely sure I understand what you're asking.  But basically, f/number stats (at least the way I include them) are indicating what aperture my light meter reading gave me when I set the flash to a certian power and a certain distance.

For example, I want my mainlight to be correctly exposed, but also want some rim light in there, one stop over exposed.  For arguments sake, I'll decide I want to shoot at f/16, so I'll place my mainlight and power it up till I get a reading of f/16 on my meter (taking an incident reading).  Then I'll set up my rim light and power it up till I get a reading of f/22 on my meter (again, taking an incident reading).  I will then set my camera to f/16; the mainlight comes out exposed correctly and the rimlight, as my meter gave me a reading of f/22, ends up one stop over exposed.

Understand?

So when I write f/11 on my diagram, I'm referring to the incident meter reading I was given.

God bless you. I've been looking for that answer forever!

NSE Films wrote:

I'm not entirely sure I understand what you're asking.  But basically, f/number stats (at least the way I include them) are indicating what aperture my light meter reading gave me when I set the flash to a certian power and a certain distance.

For example, I want my mainlight to be correctly exposed, but also want some rim light in there, one stop over exposed.  For arguments sake, I'll decide I want to shoot at f/16, so I'll place my mainlight and power it up till I get a reading of f/16 on my meter (taking an incident reading).  Then I'll set up my rim light and power it up till I get a reading of f/22 on my meter (again, taking an incident reading).  I will then set my camera to f/16; the mainlight comes out exposed correctly and the rimlight, as my meter gave me a reading of f/22, ends up one stop over exposed.

Understand?

So when I write f/11 on my diagram, I'm referring to the incident meter reading I was given.

God bless you. I've been looking for that answer forever!

X-processed FashionWerk wrote:
The shot:



The setup:



No PP pretty much, in-camera b/w

Awesome photo! Thanks for sharing.

metall-cello wrote:

I olways thing about this lighting setup when I stay in shop front to the mirror,

The middle picture is of the Dutch Suicide Girl "I Am Kip" (MM #220346),
and here is how I shot her, at Etxea Erasmus Executive Guest Suites,
in Amsterdam (The Netherlands).

I wanted my front lights to paint an almost shadow-free look,
but also wanted to create a distinct separation between Kip and the background.

( all five heads used are Elinchrom Style Fx400s )

I used two hairlights/kickers. One of them was mounted to an AutoPole via a MagicArm,
and the other one via an ArticulatedArm and SuperClamp to the hinge of the window frame:

All cables were carefully hidden to allow full fredom of shooting,
and to keep Photoshoping an option, and NOT a necesity !

For the hairlights/kickers, I used 8"/50degree reflectors, with accessory holders,
32 dregree grids, barndoors, and Rosco ½CTB.

I later added Rosco CineFoil to both heads to further increase control/minimise flare,
and I also always use a sheet of Rosco ToughFrost between the reflector and grid,
for improved efficiancy / less hotspotting.

The room looked like this:

In front of the bed is a large cupboad with a 16/9 television on top.
This TV was unplugged and moved into annother room.
On each side of the cupboard I placed two AutoPoles.
Between them, I connected a piece of MultiTube.
To the multitube I connected my Key head with a Profoto 4x6'RF SoftBox.

Even with both diffusers in place, the Profoto box has serious hotspotting issues (!),
so over the tube I also used Elins translucent deflector (#26305) 
 
For fill, I used two 40" transparant brollies, one in each corner of the room.
These were positioned low (to not add light to the top of the bed)
and were gelled warmer than my key, by sheets of Rosco ½CTO

I was shooting simultaneously with two cameras;
an EOS20D and Mamiya 645 ( with Kodak EPP100 ).

On the 20D I wanted to use my EF 28-80mm f/2,8-4 (L) USM.

To do this, I had to sit inside the cupboard and shoot !

[ Etxea Erasmus is a "sex-hotel" that primarily caters for homosexual guests.
Kip and a handfull other MM-models I got to shoot during this particular trip,
had much fun over the fact that I wasn't a homo "climbing out of the cupboard"
- but rather a hetero climbing INTO it ]

To also record the rooms tungsten bedside lamps,
I used 1/30 sec shuttertime - and a tripod - still inside the cupboard !

On the 645 I was shooting Kodak EPP @ ISO100, so I didn't want to change ISO setting on my 20D,
as this could have created unnecesary confusions...

I decided to shoot at a target apperture of f/4,
and wanted my fill to be ½EV lower.

f/4 - ½EV is f/2,8½ which was the setting for my key.

Half of f/2,8½ is f/2,0½, but since I was using TWO fill souces
each one was rated at f/1,4½

One of the heads couldn't be adjusted down to this low setting by electronic means,
so I had to add a piece of Rosco ND4, and re-adjust for f/1,4½

Each of the kickers were set for f/2,8½. The two of them combined would meter at f/4½,
but I like blond hair to record a bit on the hot side, and this also looks GREAT on film ;-)


During one of Kips costume changes, I also added a SpeedLite under the bed,
gelled yellow, and controlled by a radioremote:



This is my favorite picture from our shoot:

(click for large version)

The collage on the wall, is selected works by fellow DeMask-photographer Trevor Watson,
and is in every way left there intentionally.
The lower part of the frame is lifted about half an inch away from the wall, by a small piece of clay,
to minimise reflections from the large Profoto softbox.

( picture of my location kit here )

---

edit: to answer a few mails about my set-up, let me stress
that ceiling bounce was NOT an option in this particular room.

Brandon Ching wrote:
OK OK... from a shoot the other night.

I was actually bummed out when I realized this was a composite. Done well but still, I don't see why that couldn't have been shot all at once to achieve the same result.

akigrafie wrote:
Another one to keep this great thread updated! ;-)






Greets from the snowy Germany...
www.akigrafie.de

I just wonder about the reflex in her sunglasses. A plane's cabin interior?

m-fotoMarco wrote:
I just wonder about the reflex in her sunglasses. A plane's cabin interior?

That was made in PS.

Ishmon Portrait Designs wrote:
I LOVE this thread and I'm enjoying all the different light techniques, but, I'm fairly new and I can't TAKE it anymore!!! LOL......what does "Bump" mean????

bump just moves the topic up a few notches, we try and keep this on the first page because it is such a valuable asset to this site