The GetDPI Photography Forum
Great to see you here. Join our insightful photographic forum today and start tapping into a huge wealth of photographic knowledge. Completing our simple registration process will allow you to gain access to exclusive content, add your own topics and posts, share your work and connect with other members through your own private inbox! And don’t forget to say hi!
Behind the scenes
- Thread starter danlindberg
- Start date
diggles
Well-known member
Last week I was in Utah photographing slot canyons in the Hanksville area. During the trip I learned about stemming and tent camping in the cold of winter. It got down to about 8°. Since I'm not used to those types of activities it was quite an adventure. This behind the scenes photo is about 10 steps into the canyon we explored on day 2.
…and here is the subsequent image
…and here is the subsequent image
diggles
Well-known member
Thank you Rob!
There is so much surrounding Hanksville, it surprises me that it is not more popular than it is. We were going to go see the Mars Research center the morning we headed out, but didn't make it because we ran out of time. I had to read your message a couple of times, at first I thought you meant she drove the rover, lol!
There is so much surrounding Hanksville, it surprises me that it is not more popular than it is. We were going to go see the Mars Research center the morning we headed out, but didn't make it because we ran out of time. I had to read your message a couple of times, at first I thought you meant she drove the rover, lol!
rdeloe
Well-known member
Ha, yes, that wasn't well written! The rover was in the back of a Ford Excursion.
I am working on a project that captures the baseball my wife learned to play catch with. It has massive sentimental meaning for her and as she is very difficult to buy for I am going to print and frame it and give it to her as an anniversary gift this year
Here was my setup:
Shot was taken on Rollei RPX25 using a 503CX with the 120mm makro with all of the extension tubes I could find. Lighting was with a single Profoto B1500 through a Chimera soft box Film was developed in HC110 and converted with NLP. I haven't done anything to the file yet so please excuse the dust and spots!
I am really happy with what it looks like. Any feedback is gratefully accepted.
all of the
Here was my setup:
Shot was taken on Rollei RPX25 using a 503CX with the 120mm makro with all of the extension tubes I could find. Lighting was with a single Profoto B1500 through a Chimera soft box Film was developed in HC110 and converted with NLP. I haven't done anything to the file yet so please excuse the dust and spots!
I am really happy with what it looks like. Any feedback is gratefully accepted.
all of the
rdeloe
Well-known member
I think your wife is going to be delighted. I can almost feel the rough leather and stitching just from looking at the picture!
cunim
Well-known member
Product BTS shots tend to be a pile of doodads surrounding something small. This shot is no different, but I thought I would try to make it useful by saying what the gear does.
The IQ4/ 138HR camera is on a small Foba stand. These little Fobas are handy but lack the stability of the bigger ones. The AS Monolith front standard is tilted and has a little bit of swing applied as well. There is some other moving going on and, with it all and f16 on the lens, we can get this relatively thin subject into decent focus with one shot. I try to avoid stacking.
There are four continuous lights and two mirrors. The small Dedo (far side) is putting a hard beam onto the blade area. The larger one is hitting the mirrors to generate a bit of sheen on the blade, and some softer general illumination. The linear light is used to get a bit of depth into the bottom of the knife. Behind the backdrop, a larger LED is giving us a slight gradient on a white ground.
My Profoto D4 has been broken for months but it is finally back to I can start mixing in flash again. Sometimes you need the power of a flash to get penetration into materials like the green mammoth ivory you see here. In this case, the flash head is behind the camera with a simple zoom reflector pointed right at the knife. I did a similar shot without flash last week (in MF Objects thread) but I prefer this one.
What you don't see is that all this is on a Foba large shooting table which is held together with vice grips and gaffer tape. I keep meaning to have a more sensible table made. If anyone has a design for a sturdy table with glass top, I'd like to see it.
Oh yes, and this is a composite of four shots with steady continuous lighting and 2/3 stop increments on the flash.
The IQ4/ 138HR camera is on a small Foba stand. These little Fobas are handy but lack the stability of the bigger ones. The AS Monolith front standard is tilted and has a little bit of swing applied as well. There is some other moving going on and, with it all and f16 on the lens, we can get this relatively thin subject into decent focus with one shot. I try to avoid stacking.
There are four continuous lights and two mirrors. The small Dedo (far side) is putting a hard beam onto the blade area. The larger one is hitting the mirrors to generate a bit of sheen on the blade, and some softer general illumination. The linear light is used to get a bit of depth into the bottom of the knife. Behind the backdrop, a larger LED is giving us a slight gradient on a white ground.
My Profoto D4 has been broken for months but it is finally back to I can start mixing in flash again. Sometimes you need the power of a flash to get penetration into materials like the green mammoth ivory you see here. In this case, the flash head is behind the camera with a simple zoom reflector pointed right at the knife. I did a similar shot without flash last week (in MF Objects thread) but I prefer this one.
What you don't see is that all this is on a Foba large shooting table which is held together with vice grips and gaffer tape. I keep meaning to have a more sensible table made. If anyone has a design for a sturdy table with glass top, I'd like to see it.
Oh yes, and this is a composite of four shots with steady continuous lighting and 2/3 stop increments on the flash.
Last edited:
rdeloe
Well-known member
Very nice explanation. You provided a window into a world about which I clearly know nothing!
shanhw1978
Well-known member
What kind of wireless flashing light trigger is used? Thanks.
It is a Pocket Wizard Mini TT1 transmitter, used in conjunction with a Flex TT5 transceiver connected to the strobe power pack. Designed to work with Nikon cameras (there is a Canon version, too) and speedlights so you can control them from the camera in automatic and manual modes. But I just use them in manual mode as a simple trigger. I think the Mini TT1 is discontinued now, probably available used though.
docholliday
Well-known member
Ah, the MiniTT1. One of my favorite transmitters due to it's low profile and small size. The only things that sucked about it was the stupid 2450 battery and random misfires due to interference in noisy environments. I finally retired my fleet of MiniTT1 and FlexTT5 units because of the range/misfire issues. Switched back to Plus III for the lights and Plus IV for the camera side since I don't use TTL when firing strobe packs. I only used TTL when I'm firing the Canon bodies in the field, but switched all the flashes to 600EX-RT units so I don't need the PWs anymore there.
I've always hated most transmitter designs because of some antenna sticking up (or the whole unit), making for an easy target to get the hotshoe ripped off in a dark studio with pieces and people milling around.
When I use the Hensel Porty 1200, it has a dedicated remote that is made by Pocket Wizard and is also low-profile, with no antenna sticking out. As a bonus, I can adjust the pack's power levels from the remote.
docholliday
Well-known member
All my lights are Broncolor or Bowens, so no luxury of having a PW in them. I stuck with PW since it was better than having two different proprietary transmitters.
shanhw1978
Well-known member
Thanks
Hmm, Arca Swiss compendium hood in front of the Rodenstock 138F... Have been wondering how it could be done and turns out the long connection rod is needed. But your compendium is the 6x9 one that doesn't come with the long rod. Did you order a new long rod from Arca?
Curious which part of the FOBA DIMIL needs holding together with vice grips and gaffer tape... FOBA tables are basically white top sitting on top of a simple frame. The frame is nothing special but the white top is trickly as heck. In fact, the frame on the even bigger DIBRO is mostly made out of Combitube. Any problem with that, you just swap the Combitube parts. Can't do that with DIMIL as the frame isn't Combitube, but still can't imagine how the frame itself can go wrong. Different story with the white top though. Crack the top and there is no way to get it replaced, especially now that FOBA is gone.
As for glass top, the white top has two holes catching the front Combitube anchor points on the DIMIL frame. Unhooking those and the top can slide out. Then a piece of glass can go on top of the bare frame. Problem is how to store the top once it's lifted off the frame. If something happens to it when it's out there, big problem... Now for those with a set of Combitubes, it's possible to build a platform on top of the DIMIL frame and put a piece of glass on that. Then the original white top can support new background material, black velvet e.g., or even light through the white top from below using an optical projector etc...
cunim
Well-known member
I just ordered some rod stock from Amazon. Two things to be careful of:
1. Remember to keep a clamping screw loose. Otherwise there could be a problem applying much Orbix tilt. That's a long lever arm.
2. Do not let the rod extend back behind the rear clamp. It can press into the bellows if you apply much tilt.
This 200 mm rod I ordered is a bit long. I would go with 150 mm if they have it.
2 Pcs 8mm X 200mm Linear Motion Rod Shaft Guide for DIY Craft Tool and CNC Machine (8mm, (2pcs)200mm) : Amazon.ca: Industrial & Scientific
I have a Dimil table and, over the years, I used the adjustable rear tilt. Trouble is those tightening handles tend to strip their bolts if you tighten them enough to hold much tilt. Frame bolts also strip as the rubber compression blocks age and more tightening is needed. Now I no longer need tilt because Savage Translum does the job more conveniently and without the blue tint of the plexi. I use a varipole on each side of the table and mount backdrop rollers there. I can deploy backdrops s needed, onto a flat Dimil. I keep using the Dimil primarily because it doesn't obstruct lighting placed underneath the surface.
The tape is used on one corner of the frosted top. I dropped that corner on the floor and it cracked, leaving razor-edged plexi in the shattered area. You could shave with it. So I covered that whole corner with tape and it is safe enough now.
With the Translum, I no longer need a table with sweep. I would like a nice, sturdy wooden table (wood to kill vibration) with an inset tempered glass top, about 1m square. Seems like a simple thing but no one makes a suitable one that I can find so I keep meaning to ask a local carpenter to do it.