Friday, December 31, 2010

Recapping 2010 in photos

I just put up a set of 62 of my favorite images from 2010. Included below are 12 of those.

Looking forward to more photos, more questions and answers, and more fun in 2011. Send me your questions and comments. Thanks!

Trollaween

Suzanne
Adrienne

Vertical Girl
Space Needle

Tristen and Finnegan
Greenwood Car Show
The Lingerie Addict
Kevin
Iva Handful
K T
Eleya and Heather Rose
Happy New Year!

Thursday, December 23, 2010

Going with what you've got

Each year there is a procession of decorated boats in the waters around Seattle. They start out at the beginning of December, going to various locations around the Puget Sound and culminate on December 23. One of the main stops on Dec 23 is Lake Union, near Gasworks Park.

The weather is always a concern. Two years ago we had big snowstorms and the snow covered hills of Gasworks park nicely reflected the lights from the boats and from the city skyline. I had my trusty Canon G9 with me that evening and realized that there wasn't going to be much chance of getting a clear image of the boats. Between the darkness, me hand holding the little camera, and the movement of the boats on the water, I had to go outside the box.

I went back to my mantras of "embrace the blur" and experimented with camera motion to make more abstract captures. I really enjoyed them, and was back out there again this evening in the light rain with my Canon G10.

I turned off the built-in image stablization on the camera, held it in front of me and tried various wrist movements to see what I could capture. Sometimes I rolled my wrists, sometimes I swirled. Sometimes I just moved in random motions. Here are some of the results:

 
 

The crowd in Gasworks Park in 2008


In one of those acts of synchronicity, Craig Tanner has picked one of my holiday ships images for Photo of the Week on The Mindful Eye website.

Thursday, December 16, 2010

A few more...

I realized I didn't include any full-length images using the white diffuser on the PLM in the previous post. Here are some examples with the diffuser...

f/5.6, 1/6 second
f/6.3, full power
f/6.3, full power

More PLM photos

Nothing to compare this time, just some examples to look at. I took the PLM to my office today and we played around with it in a camera club meeting. These were taken with a Speedotron 805 pack and 102 head with the 84" PLM. These are all without the diffuser except for the last image. The camera was a Canon 5DmkII with the 70-200 f/4 L IS lens. The PLM is approximately 16 feet from the subjects, I am standing in front of the PLM. Background is white seamless, just a short distance behind the subjects.
This gives an idea of the size of the PLM
f/5.6, strobe power lowered down

f/13, full power (800ws)

f/13, full power

f/14, full power

Looking into the PLM, f/22, 0.3 seconds, lens zoomed during exposure
f/32, 0.5 seconds, lens zoomed   


f/5.6, with diffuser

Tuesday, December 14, 2010

More light comparisons

About a week ago I got an 84" silver PLM* from Paul Buff (Alien Bees/White Lighting). I haven't had a chance (or the room, this is a very large item) to really give it a good test, but this evening I had some time available to do a set of comparison images with the PLM and a few other light modifiers. The PLM is mounted to the light using the new speed ring assembly that I modified to fit my Speedotron flash heads.

I will start by saying that I really don't like using a mannequin for lighting demonstrations. The surface of the mannequin doesn't mimic skin, and the eyes have painted in catch lights. But it does allow me to have a "model" that doesn't move between images while I'm changing out the lights. So, when looking at the following examples, pay more attention to the edge of the shadow that the mannequin casts. See which lights will give you harder or softer shadows.

The mannequin in this series is 18" in front of the background. This is much closer than I would normally place a portrait subject. But for beauty or experimental work I might sometimes have the model right against the background. The light stand is 117" (9.7 feet, 2.3 meters) from the nose of the mannequin. The light is situated just over my left shoulder, almost straight on to the mannequin in all but the last image. The last image is with a ring light, so the camera is on axis with the light.

All but the last image were taken with a Speedotron 805 power pack at its lowest power setting for one lamp head (50 watt seconds) going to a 202 flash head. The last image was lit with an Alien Bees ring light at its lowest power setting. The light stand is in the exact same position, though it was lowered a few inches for the last image (ring light). The power pack was left at the same power level for all photos. The aperture was adjusted to get proper exposure (I took a series of bracketed shots and selected the best from each series). The aperture each image was taken at is shown in the examples below. This should give you an indication of the efficiency of each modifier.

The modifiers used were: Silver PLM, Silver PLM with diffuser, bare bulb (flash head pointed towards the subject), 7" silver reflector, 7" silver reflector with 20-degree grid, 7" black reflector with snoot, 22" Speedotron beauty dish, 42" Photoflex umbrella (white reflective with black backing), 60" Photek Softlighter II, 60" umbrella (the Softlighter without its diffuser), 24" square Interfit soft box (white interior and interior baffle), and Alien Bee ring light. Camera was a Canon 7D with the Canon 100mm f/2.0 lens. Camera to subject distance is about 9.5 feet.

There were no fill/bounce cards. Just the one light.

I converted to black and white so that the color of the mannequin and background and slight differences in the color from each modifier wouldn't affect perception of the shadows. I've also included a color version to give an idea of the difference in color between the various modifiers on the lamp head.

       
      Click to enlarge
 
Click to enlarge

I hope to soon get to do a set of examples of the PLM compared with other modifiers with a full length subject and more distance between the light and subject and between the subject and background. Just need to find the space to do it in...

ADDENDUM: Adding a photo of the PLM with the Speedotron head (this photo was taken before modifying the adapter plate, so it is attached like an umbrella). This is shown in a standard 8' ceiling room to give an idea of the size:
If there is a comparison you would like to see please let me know.

Thanks!

PS: I've had some questions about adapting the PLM to a Speedotron head. Here are a couple of snapshots of the modified Speedotron speedring:
The black part is the Speedotron speedring. The chrome part is the included Paul Buff/Alien Bees speedring connector, which has its own speedring. I removed the AB speedring and drilled holes in the Speedotron speedring to match the three legs from the AB adapter.

I also slightly bent the lip on the Speedotron speedring to match the angle of the legs from the Alien Bees speedring attachment.


Here it is attached to a 102 lamp head
Note that the three legs from the AB adapter clear the flash tube cover on the 102 head. I found that the larger flash tubes on the 202 and Force mono lights touch the legs. So I only use this set up with the Speedotron 102 heads.



* for those waiting for their backordered PLM, I ordered mine on June 13 (2010) and received it on December 2 (2010).