Thanks! Well, it’s the Zeiss 55mm 1.8 in some shots, and the Sony 85mm 1.8 in the rest. Oh, and none are wide open, I don’t shoot wide open on commercial jobs, they’re 2.8 or higher. Those and the 28mm 2 are the only lenses I had at the time, now I’ve only added the Tamron 35mm 2.8. I prefer to buy cheap or used lenses. Don’t have the money for GM lenses, I’d rather buy lenses for my Medium Format cameras.
p.71 #5Portrait and People Image Thread using Sony
Hello guys working on my portrait photography, critiques welcome. I used a double diffused 34" beauty dish camera left and speed light hitting the backdrop with a magmod gel to try an liven up the background a bit.
p.71 #6Portrait and People Image Thread using Sony
Lookin good! Clean lighting, nice job on the bg, good colors. If you are asking for notes, I would humbly suggest asking the model to tilt their head down a bit at this camera height to create more separation from the chin and neck. To nitpick, I might try experimenting with taking the light up a bit higher and a little more to the side for a man to give you a bit more contour to the shadows.
rein2222 wrote:
Hello guys working on my portrait photography, critiques welcome. I used a double diffused 34" beauty dish camera left and speed light hitting the backdrop with a magmod gel to try an liven up the background a bit.
Thank you sir! I shot it at 35mm through a chandelier while standing on a ladder with a ton of window light coming through from the bottom of the frame. I had to make some kind of tweaky adjustments to the ladder position, couch position, head tilt relative to the window, distance between lens to chandelier etc., to get it working, but it all seemed worth it at the time haha so thanks for the kudos.
p.71 #16Portrait and People Image Thread using Sony
Thanks fuzzy I'll experiment with that next time. This is actually a self portrait, it was difficult running back and forth. I'm using Sony image app and for some reason it doesn't focus remotely, so I have to lean back or forward to get it close. I suspect it has something to do with having back button focus setup on my camera? Anyway thanks for your input.
fuzzykeys wrote:
Lookin good! Clean lighting, nice job on the bg, good colors. If you are asking for notes, I would humbly suggest asking the model to tilt their head down a bit at this camera height to create more separation from the chin and neck. To nitpick, I might try experimenting with taking the light up a bit higher and a little more to the side for a man to give you a bit more contour to the shadows.
rein2222 wroteHello guys working on my portrait photography, critiques welcome. I used a double diffused 34" beauty dish camera left and speed light hitting the backdrop with a magmod gel to try an liven up the background a bit.
Not that complicated, or well, you could say it is complicated for photography, but as a cinematographer I’m used to use multiple lights to light a space.
All of them have a collapsible 30” Beauty dish with a frontal diffuser as a key on the subject with a Godox AD200. And one to three lights through the windows, depending on what’s the background, and how dark was the space. Some of them are in a very dark irish pub, with lots of dark woods and floors. So, I needed to put light on them to get some detail. I used a 7’ silver umbrella with a diffuser in front, and two regular medium size rectangular softboxes. The umbrella had a Godox AD360II, and on the rectangular softboxes were two Calumet 750 Travelite, they had to be on close to minimum power. I didn’t use a dedicated backlight, but sometimes either the practicals provide backlight, or the lights through the windows.
I shot at 2.8 most of the photos and just varied the shutter to let more ambient light in or less. It was about 1/60 and 1/100, couldn’t go above sync speed, because the Travelite’s can’t handle it.
You can see the lights coming through the windows better in the next two photos, hitting the column on the right and the floor in the second one.
Not that complicated, or well, you could say it is complicated for photography, but as a cinematographer I’m used to use multiple lights to light a space.
All of them have a collapsible 30” Beauty dish with a frontal diffuser as a key on the subject with a Godox AD200. And one to three lights through the windows, depending on what’s the background, and how dark was the space. Some of them are in a very dark irish pub, with lots of dark woods and floors. So, I needed to put light on them to get some detail. I used a 7’ silver umbrella with a diffuser in front, and two regular medium size rectangular softboxes. The umbrella had a Godox AD360II, and on the rectangular softboxes were two Calumet 750 Travelite, they had to be on close to minimum power. I didn’t use a dedicated backlight, but sometimes either the practicals provide backlight, or the lights through the windows.
I shot at 2.8 most of the photos and just varied the shutter to let more ambient light in or less. It was about 1/60 and 1/100, couldn’t go above sync speed, because the Travelite’s can’t handle it.
You can see the lights coming through the windows better in the next two photos, hitting the column on the right and the floor in the second one.
Thanks for the explanation, this information is very helpful! I always worry shooting in these environments about color balancing between the flash and warmer ambient lighting, but I’d say what you did seemed to work quite well. No gels or anything like that?
Not that complicated, or well, you could say it is complicated for photography, but as a cinematographer I’m used to use multiple lights to light a space.
All of them have a collapsible 30” Beauty dish with a frontal diffuser as a key on the subject with a Godox AD200. And one to three lights through the windows, depending on what’s the background, and how dark was the space. Some of them are in a very dark irish pub, with lots of dark woods and floors. So, I needed to put light on them to get some detail. I used a 7’ silver umbrella with a diffuser in front, and two regular medium size rectangular softboxes. The umbrella had a Godox AD360II, and on the rectangular softboxes were two Calumet 750 Travelite, they had to be on close to minimum power. I didn’t use a dedicated backlight, but sometimes either the practicals provide backlight, or the lights through the windows.
I shot at 2.8 most of the photos and just varied the shutter to let more ambient light in or less. It was about 1/60 and 1/100, couldn’t go above sync speed, because the Travelite’s can’t handle it.
You can see the lights coming through the windows better in the next two photos, hitting the column on the right and the floor in the second one.
Thanks, no, no gels were used. I really don’t worry about mixed lighting, being a cinematographer, you always have mixed lighting, unless it’s a studio. And this was a shoot for a Bar chain, they were all bartenders, so the mix lighting fit the theme. If this was a life style or other kind of commercial shoot, I might have done it differently.
With mixed lighting, as long as you have the key set to your WB and the ambience as well, that’s why I put light through the windows, you’re ok, the practicals(existing lights) are only visible, and might provide a backlight if subject are close, but that’s it.
In this photo, he’s standing closer to the windows, where the column is, and you can see the amount of light that’s coming in.
