Basic light source ... a single tungsten bulb close and directly above:
One 200WS strobe (Multiblitz Profilux or Multiblitz CompactLite ... I don't remember) with a 60x80cm (Small) Chimera Softbox:
One strobe (I forget which) shot into an umbrella to camera right:
One light can give you great shots (better than mine certainly) ... I own a ton of equipment (like most people, I arrogantly bought into the idea that my equipment is what limits me). 5 strobes, a tonne of softboxes, light modifiers, 4 580/550 speedlights, and a closet of lenses later, I actually find myself going back to very simple lighting and equipment simply because learning how light works and a bit of thought on your part will get you a lot further than even the fattest cheque book will likely carry you.
Having a lot of equipment, and good modifiers is helpful ... and may even help you learn quicker ... but in the long run it can be a crutch for some of us, and I think someone can only be a better photographer to learn to adapt to what they have, rather than always blaming mediocre photos on a lack of some 1000 dollar modifier or lens.
My own pictures are still depressingly mediocre (by my own standards), but I still feel like I've made some progress to convince myself that the problem is me (ergo the solution is also me), not my lack of some other new uber-light-former to break the bank.
Just some thoughts from a recovering equipment addict. Toys are fun, but one light is enough to get you started for many years to come if you learn to think with your head, and learn how light works, rather than just adding more watts to a scene and hoping the magic will happen by sheer force of numbers.
ktownsend wrote:
I think someone can only be a better photographer to learn to adapt to what they have, rather than always blaming mediocre photos on a lack of some 1000 dollar modifier or lens.
Kevin.
: )
Yep, I get a kick out of a couple of my golfing buddies out on the golf course There they stand with $1200 worth of equipment, they drop all the right names bragging about their brand of clubs, balls etc. Ping Zings, wing dings..whatever, and then shank it straight into the woods!! Then throw that expensive club at the golf cart mumbling something about needing a new pair of Footjoys... Cracks me up!
But it's the same in everything, golf, photography you name it. You're absolutely right..it's up to you in the end.
By the way, before I forget, good examples Kevin of one light setups...
Isn't that the truth, Albert. Get some new gear and you will be a better photographer and a better golfer, too. It is like a little kid who wants to play with new toys when the toy box is already full.
It makes me laugh. There is always going to be someone with money. They will have the latest camera or you will see the latest car going by and wish you had it too.
This was done with a single Nikon Speedlight at about 1/16th power if I remember correctly, with a cardboard snoot on the end of it mounted on a light stand pointing down on the small bowl from the left about 4ft away.
I was going for a soft, dim almost moonlit lighting to accent the front rim of the bowl..
Edited by Albert Taylor on Apr 02, 2007 at 12:43 AM GMT
Edited by Albert Taylor on Apr 02, 2007 at 01:00 AM GMT
RyanFlynn wrote:
Albert, I think you nailed the moonlit look.
Thanks Ryan, I appreciate that.
I also used some highly sophisticated modifiers within the snoot to help me achieve that light, namely scraps of torn paper strategically placed to block the light in certain areas...
While I was expecting a certain amount of reflected light from the wood beneath the bowl, it turned out even better than I'd imagined, giving it a real three dimensional effect.
TobiasPaul wrote:
For one light shots, how are you pulling off the perfectly placed and even spot grading behind each model? Just curious. Also, what exactly is the light position?
Tobias
I too would like to know how these were shot with one light. I just bought my first studio light last week(ab800) and would like to take shots like these. Thanks.
Here is a single light setup for an antique tool shot.
First, the final image.
Unedited shot.
-The wood chips are from a hole a drilled several months ago.
-You will notice the brace and bit are at slightly different angles, this is due to the construction of the tool and since both items are well over 100 years old I did not try to force them straight.
-I had to use two strings on the shot, one to hold it vertical and one to hold it the handle out perpendicular to the lens.
Here is the setup shot. I used a 16x22 inch softbox on a photogenic pl1250dr light set at 435ws, exposed at F20 160th 5500K, manual focus. I would have preferred to use my large softbox but limited ceiling height required I use a smaller one.
Here is another single light setup using a last softbox on a plank of oak.
Littlebike wrote:
I just did but apparently they do not count. :roll:
I was think of pictures of the EQ, so we could see what you used, IE stands, lights so on.
roger lund wrote:
I was think of pictures of the EQ, so we could see what you used, IE stands, lights so on.
My workspace is so small that I cannot get the whole thing in a single image (20d with 17-40L). Also, if I backed out you would not see the subject of the shot because it was surrounded by whiteboard.
Single 16-22 softbox above the subject, the piece of whiteboard around it on a plank of oak on back paper with a sweep.
