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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 60 |
Dec 22 |
Comment |
I will have to look after the holidays. I think of it in most of my wedding second shooting where we setup strobes to make sue we have good base lighting on dancers and work the shutter speeds to bring in up lights. It can get very tricky when you are trying to keep the atmosphere of the event but still have good light with a fast enough shutter to freeze motion. In studio like settings at a dance school we use the strobe to eliminate the fluorescent ambient. Your situation is one where you find the best compromise. The suggestion to add cto to strobe is a lot easier to accomplish but adjusting white balance will impact the background until you go to photoshop. Hope this helps illustrate and alternative option in a situation like this. |
Dec 17th |
| 60 |
Dec 22 |
Reply |
Everything is a choice but yes I would want the lighting similar on both sides of the subjec in terms of general color. The technique I was taught for all portraits in studio or out was fast shutter and let the strobes build your light. Then slow your shutter to bring in any ambient you want. It is a matter of how much power is available to your lights. 400 watts 1600 watts 4 speed lites or just 2.
Just a different approach. |
Dec 16th |
| 60 |
Dec 22 |
Comment |
Thank you for the feedback. I know I tend not to view my underwater images the same as my above so the un biased feedback is what I am looking for. I can see the reality of the lack of subject engagement and how a position to camera right would help.
For those curious about UW photography think of it as a wildlife shoot where you have to bring your own light. I have my camera and two strobes on arms that are about a foot long. Water will absorb wavelengths as you push light through it so working distances need to be as close as possible. It is a challenge but can be very rewarding. This image is from the Maldives.
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Dec 16th |
| 60 |
Dec 22 |
Comment |
Dynamic shadows was my way of saying sculpting the item with shadow and light control. With still life's I always want to move away from flat light into shadow play. Can you imagine a nice kicker light from behind creating separation from the background or spot lighting one of the pine cones so you really see the texture? That is what I think of by dynamic shadows. Your shadows aren't just what is left over but the actual detail you craft. I hope this helps explain what I meant. |
Dec 16th |
| 60 |
Dec 22 |
Comment |
Amazing how the triangle of light is reflected. Very enjoyable image. When I contemplate a crop and lose that strong triangle I tend to shy away and enjoy what is there, nice clouds, color through out. The golf course is of little importance to me and it ends up being small in frame. I think it is a very successful image. |
Dec 14th |
| 60 |
Dec 22 |
Comment |
I love the wing position on this image. The capture in mid air is nice. There seems to be detail in the feathers so the exposure is close but contained. the only real draw back I see is it doesn't engage with the viewer as much as one flying towards us. Might loose a little top and bottom if you like non traditional crops, and watch the horizon line. Birds always keep me coming back again because they rarely sit where I want the to be. |
Dec 14th |
| 60 |
Dec 22 |
Comment |
A nice seasonal image. If you have control over light placement you may be able to introduce more dynamic shadows and if you were very crafty use cookies to control your light reflections into stars or diamonds or such. a nice capture but I see it as a place to start the playing process. Adjusting the container on a small block might help bring you into the collection of items better. Great job keeping the letters in focus as it naturally draws your attention in trying to read what it might say. Happy Holidays! |
Dec 14th |
| 60 |
Dec 22 |
Comment |
Looks like a guy having a fun time. The portrait is quite appealing from the base lighting. The rim light from behind and the fill left and above the camera. The mixed lighting is where the details start to fall apart. The lighting pattern gets overpowered by the yellow light coming from camera left doesn't mix well with the bluer strobe light. Using a CTO gel on your strobes and adjusting white balance could have corrected most of that. Another approach would be to bump up the power on the strobes to overpower the ambient and be in complete control. The Aperture ISO and flash duration(HSS) could find a sweet spot where dragging the shutter would control your background levels. with a test subject you could dial it all in before the talent arrives. The red light coming into the head is also a little distracting. |
Dec 14th |
| 60 |
Dec 22 |
Comment |
Interesting image. I think the bridge lighting really competes with the lighthouse and so I get drawn past the lighthouse. I think there may be some more in the sky to be achieved but the balance of lighting is off. I enjoy the symmetry of the camera placement, and the smoothing of the waves. |
Dec 14th |
| 60 |
Dec 22 |
Comment |
I enjoy this image and really like the sunburst. The brighter light on the grass in the center is nice. a tighter crop might focus me in a bit more on what key features you want me looking at. The exposure seems well handled and there is detail in the hay bales. I bounce a little between the light on the hay bales and the sun shafts. Thank you for sharing.
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Dec 14th |
9 comments - 1 reply for Group 60
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9 comments - 1 reply Total
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