Camerosity wrote:


4x6-foot softbox about 5 feet in front of the model (perpendicular to the background wall, parallel to the wall at the left). Bottom of the softbox was about 1 foot above the floor.

Love shooting berry. great job

pellepiano wrote:
Low budget light to compete with sunlight.  A Sigma Flash RF 500 Super and a transparent umbrella.
I had camera on tripod, framing just the model. Took one shot where I stood very close to her with the flash just 50 cm from her head. Took another shot with flash close to her legs, and then I took 20 other shots of the surroundings and made a panorama of it i all i Photoshop. So my 85 mm lens on a 5d II, suddenly went to 25mm or something like that

Fantastic use of the Brenizer method.

NothingIsRealButTheGirl wrote:


One softbox high and feathered straight down.



I pulled the setup away from the bus to darken it.

Cool. Has a nice old Hollywood feel to it. Which tended to be hugely complex or very simple lighting.

Herman Surkis wrote:
Cool. Has a nice old Hollywood feel to it. Which tended to be hugely complex or very simple lighting.

I should add that the red was a single gelled speedlight. I was trying to add a sense of nearby taillights or store neon, but I didn't finesse it too much.

Herman Surkis wrote:
Time to give a little back.
Did not photograph the set up.
If I start to graph it, I will get bored and it will not happen, so I will just post the image and explain.
Disclaimer: I am one who is constantly nagging at people that they need to understand one (1) light before they do anything. This setup is 6 lights and a composite background.
The actual background is a long black cloth.



Leaves are real and scattered on the backdrop and since some were still wet they stuck to the background and look like they are falling. There are also some real branches in the foreground on C-stands. A couple of stand legs were removed in post.

At the background are 2 gridded Einsteins with a blue and orange gel. These are pointed foreword to rim the subject and give a hint of coloured flare.

Also at the back is a hairlight, to separate the hat from the background and give a glow to the wig.

Just forward (towards camera), are 2 fog machines, one on each side. Rear lights are kicking through the fog.

Parallel to the subject are 2 4' softboxes, One on each side giving the main light on the subject.

Slightly behind the photographer is an 86" PLM fill.

After that is was simply a matter of getting the right look.

First step in post was cleaning up the fog, and fixing wrinkles in the fabric. Then tweaking contrasts etc.

After all that was done, a preselected forest background was added and blended in.

Lighting setup took awhile. Post likely took less time then it took me to type this.

Studio shot.
Friend complimented me (without realizing) by saying he thought I shot it outdoors in my backyard.

I think Drew Garder did a DVD series on this exact setup. He has a unique style in his lighting.

petergau wrote:

Wow.... this is amazing