You save size, weight and potential lack of power by using strobes. Monolights in the studio but that is where they stay most of the time. Tradeoffs between monolights and strobe heads/battery combinations. Only a large formatĬamera with movements will give you the control you need to cover large areas and correctĪs far as lighting goes you cannever have too much. Important than the lighting for most indoor architectural work. Using the right format camera is evenmore There are some really good tricks you can do in PhotoShop, but there are times when there is absolutely no substitute for lots and lots of flash power.īill's comments are right onthe money. Some people out there are layering multiple exposures done with different color balances and room lights on/room lights off, etc, and coming up with pretty decent stuff, but that can only be done in certain situations. ![]() Then again, if 35mm is all you require, then a set of four AB1600's would probably be sufficient. There are times when I'm using a 2,400 watt-second Comet pack with three or four heads (far more efficient than a low-end unit like, say, a Speedotron), and bouncing a couple of Alien Bee 800's into corners or behind a sofa, and for really big rooms I'm keeping the shutter open for 5-30 seconds and doing multiple pops. Bounce a flash into a wall to get softness, and you lose a lot of light. For really high-end stuff, on MF or 4x5 you'll want a decent f-stop, like f16 or f22. I send them the digitals, and if they need larger for full page or double-truck, only then do I bother scanning the 4x5.Īnyhow, on to the lighting. ![]() ![]() It's ok for quarter-page and half-page, but they never know what they're going to use how, so I need to shoot it all in a larger format, and cover it on the D2x. For the mags I shoot for, even my D2x isn't enough sometimes. It sounds like you have found a decent niche and technique, but if you are going to move up even higher, the jump you need to make could be a very big one.
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