Rgb Portrait Kit Usage Instructions ®®
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Photoflex Catalog.Pdf
Photo by: Ian Spanier PROFESSIONAL LIGHT SHAPING TOOLS 10 Softboxes for Strobe/Cool Lights Softboxes Photofl ex® began producing the LiteDome® softbox in 1985 and remains the world’s most popular softbox for professional photographers. Here are just a few of the features that separate Photofl ex® from the competition: • Our proprietary DuraCloth fabric interior softens light, eliminates leaks, and insures neutral color rendition. • Medium, large and extra large LiteDomes include patented Quick-Release Corners (QRC, see page 6) for easy assembly and break-down, with removable face and interior baffl e. • Optional fabric grid attaches with Velcro® for added control. LiteDome® The LiteDome® is our most popular softbox model due to its simplicity and high performance design. The LiteDome® is the HalfDome® original Photofl ex® white interior softbox model, designed over 30 years ago. Perfect for every SoftBox for strobe only ® photography application, the LiteDome ® consistently delivers even, natural light from The HalfDome features a narrow profi le, your strobe unit. perfect to use as a hair light or rim light for portraits or for getting sleek, elongated Extra Large [XT-4XLLD293] 871150 catchlights in product photography. A Dimensions: 53 x 70 x 35 in. / 134 x 177 x 89cm removable StripMask is included for Large [XT-3LLD293] 871147 creating an even narrower light source, Dimensions: 34 x 45 x 24.5 in. / 86 x 114 x 62cm reducing the dome width by half. Photo by: Scott Stulberg Medium [XT-2MLD293] 871144 Medium [FV-HDMW] 870349 Dimensions: 24.5 x 32 x 17 in. / 62 x 81 x 43cm Dimensions: 15.5 x 55 x 23 in. -
Softbox | Octabox 2 Softbox System
Softbox | Octabox www.broncolor.com 2 Softbox System The broncolor Softbox System Square or octagonal? Let your style decide The new broncolor Softboxes These quality, high-performance light shapers extend your flash system are optimised light shapers for and offer countless additional lighting effects. Three different diffusers precise lighting design in nine enable a soft light with slight central emphasis through to perfectly different shapes and sizes. homogeneous distribution over the entire area. With a light grid, light Square, rectangular, as a strip or control can be even more precise. octagonal. The special internal coating guarantees optimum efficiency. Coloured markings on the tensioning rods and the support ring enable simple, quick erection and dismantling. With appropriate adapters, Softboxes can also be used with flash units from other manufacturers. 3 Softbox System 33.565.00 Softbox 90 x 120 cm (3 x 3.9´) The Big One: Softbox with the classical 3:4 aspect ratio. Perfect for use anywhere where large area and soft lighting is required As with any rec- tangular (but not square) Softbox, you can turn it through 90° to achieve another, slightly different, lighting characteristic. 33.566.00 Softbox 120 x 180 cm (3.9 x 5.9´) The Biggest: Over two square metres of light! Even over the shortest distance this Softbox illuminates a whole body very uniformly and this short distance from the model (or object) guarantees an unbelievably soft and beautiful light. It infuses spaces with a certain magic. 33.564.00 Softbox 30 x 120 cm (1 x 3.9´) The Strip Softbox: The Striplite among the textile Boxes is perfect for illuminating edges in product photography and as a hair-light in the portrait and fashion fields. -
Fish-Photography-Post-Processing.Pdf
B Spring 2015 American Currents 26 PHOTOGRAPHY AND POST-PROCESSING TECHNIQUES FOR NATIVE FISHES Scott Smith and Jesse Bissette North Carolina Division of Marine Fisheries, Morehead City, NC INTRODUCTION have an older flash knocking about, it will work as well. Just There are many well-documented methods for photograph- know that you will be required to adjust the flash settings ing fishes, using everything from point-and-shoot cameras manually. Price is the second reason for choosing this flash, to professional DSLRs. These methods often produce excel- as a used SB-600 costs about $200. We find this well within lent photographs, albeit with varying background colors our “oops, I dropped it in the water” budget. and different lighting, depending on the weather. In an ef- fort to standardize our photographs, we use an approach Lens that builds off of known methods, consistently provides In order to properly resolve the fins of small fishes, a macro solid black backgrounds, removes any concern over ambient lens is an absolute necessity. We use the Nikon 40mm f/2.8G lighting, and reveals a level of detail not normally seen in AF-S Micro Nikkor on the D3000 and the 60mm f/2.8G photographs of fish. This article aims to outline our process AF-S Micro Nikkor on the D610. Due to the cropped sensor so that anyone, whether equipped with entry-level or profes- of the D3000, both these setups have an equivalent working sional gear, will be able to duplicate it. focal length (i.e., the angle of view is the same). -
Lighting Efficiency CLIMATE TECHBOOK
Lighting Efficiency CLIMATE TECHBOOK Quick Facts Lighting accounts for about 11 percent of energy use in residential buildings and 18 percent in commercial buildings. Both conserving lighting use and adopting more efficient technologies can yield substantial energy savings. Some of these technologies and practices have no up-front cost at all, and others pay for themselves over time in the form of lower utility bills. In addition to helping reduce energy use, and therefore greenhouse gas emissions, other benefits may include better reading and working conditions and reduced light pollution. New lighting technologies are many times more efficient than traditional technologies such as incandescent bulbs, and switching to newer technologies can result in substantial net energy use reduction, and associated reductions in greenhouse gas emissions. A 2008 study for the U.S. Department of Energy (DOE) revealed that using light emitting diodes (LEDs) for niche purposes in which it is currently feasible would save enough electricity to equal the output of 27 coal power plants. Background Nearly all of the greenhouse gas (GHG) emissions from the residential and commercial sectors can be attributed to energy use in buildings (see CLIMATE TECHBOOK: Residential and Commercial Sectors Overview). Embodied energy – which goes into the materials, transportation, and labor used to construct the building – makes up the next largest portion. Even so, existing technology and practices can be used to make both new and existing buildings significantly more efficient in their energy use, and can even be used in the design of net zero energy buildings—buildings that use design and efficiency measures to reduce energy needs dramatically and rely on renewable energy sources to meet remaining demand. -
Master Professional Portrait Lighting with These 20 Essential Studio Setups
LIGHTING GUIDE Master professional portrait lighting with these 20 essential studio setups REMBRANDT WITH A PORTALITE SOFTBOX REMBRANDT THROUGH AN UMBRELLA REMBRANDT WITH A HONEYCOMB GRID REMBRANDT WITH A SILVER UMBRELLA KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, Stand, one Portalite Softbox one Clip-lock Stand, one 16cm Reflector, one Clip-lock Stand, one 18cm Reflector one Clip-lock Stand, one 16cm Reflector, Position the light high and to the side to one Shoot-through Umbrella with Honeycomb one Silver Umbrella create a triangle on the model’s cheek. The Position the light high and to the side as with Position the light in the same manner as the Position the light in the same manner as the shadow of the nose should point towards the the ‘Rembrandt with a Portalite Softbox’ previous ‘Rembrandt’ techniques; the light previous ‘Rembrandt’ techniques. The light edge of the lips. The Portalite creates a soft setup. The light is slightly less contrasty, through the honeycomb grid is stronger and bouncing from the silver umbrella is more directional effect. because the light is less directional more dramatic. The grid makes it very easy direct and wraps around the features of the and there is always some reflection to direct the light on to the model and away face yet still creates the shadow from the from the studio surroundings. from the background, which becomes dark. nose towards the mouth. REMBRANDT SHORT REMBRANDT BROAD SPLIT SPLIT WITH FILL KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox, one Use the principles of ‘Rembrandt’ lighting Use the principles of ‘Rembrandt’ lighting Position a light to one side of the model in small reflector to create the triangle of light on the face. -
Lighting Journey
Your journey to a Lighting Career DESIGNED BY HURLBUT ACADEMY Creating Depth, Mood and Emotion with Lighting DIY Home Depot Lights Parts 1 & 2 Lighting Large Day Interiors, DIY Lighting, Essential Tools Lighting For Specific Camera Blocking LOCATION LIGHTING SET LIGHTING S C I S A B E Day Exteriors: Shaping and Day Interiors: How to Light an H Wide-shots and Controlling Interview with 4 T The Scout Walk-talks Light Leko Lights N R Day Exteriors: A Day Interiors: Shaping Light E Shaping Natural Night Interiors: L The Build Part 1 Light w/ Negative and Shadow The Build Fill Shaping light & Day Interiors: Day Exteriors: Shadow: Nailing Night Interiors: The Build Part 2 Shaping high sun for the Close-Up The Finesse close ups Lighting From Above: The Night Interiors: Day Interiors: Day Exteriors: Softbox The Shoot The Shoot Part 1 Lighting w/ available light Mounting The Softbox Day Interiors: The Shoot Part 2 Wall Spreader Etiquette Lighting techniques - Building the perfect key light Lighting for 3 cameras: Why & How TV Gag: Kino Flo Lights The Police Light Gag LOCATION LIGHTING SET LIGHTING Day Exteriors: On Set: Fathers How to Light Day Interiors: Changing the and Daughters - Green Screen The Scout direction of the sun Blocking and Series: Lighting for close-ups Lighting for Small your subject R Interiors E H Day Interiors: On-set: Into the How to Light T The Build Part 1 On Set: Fathers R Badlands Green Screen and Daughters - U Character Series: Lighting F Understanding Development with Just two Your Camera T through camera lights I Day -
Introduction to Lighting - DIG Workshop 14 June 2019
Introduction to Lighting - DIG workshop 14 June 2019 Liana Bull & Robert King Turner Lighting is in many respects the most important aspect of photography, period. It’s essentially what our camera captures when we take a photograph, and it’s the manipulation of that light that ultimately determines what type of image is produced. There are infinite ways to use light in photography, each one creating a completely different result. Learning to understand and control how the light affects your images is arguably the single most important thing to improving your photography. Photography can be thought of as “painting with light.” The word photography is derived from Greek roots: “photos” meaning “light” and “graphe” meaning “drawing.” Without light, there would be no photography. Natural Light Photography, what does that even mean? Natural light photography is simply to record an image using the light that exists all around us. This can be direct sunlight, reflected sunlight or ambient sunlight Lighting is a key factor in creating a successful image. Lighting determines not only brightness and darkness, but also tone, mood and the atmosphere. Therefore it is necessary to control and manipulate light correctly in order to get the best texture, vibrancy of colour and luminosity on your subjects. Using Natural Light in Photography As a photographer, you get used to working with different kinds of lighting, including natural light, to produce high quality photos. Natural light can blend lightly within its environment to create a soft subtle light. Now, we aren’t always going to be so lucky and have ample light, the chance to pose a subject, or even have an option to be outdoors. -
Ringflash C Experimenting with and Without Shadow
Ringflash C Experimenting with www.broncolor.com and without shadow 2 Ringflash C Ringflash C - Orchestrating reflections and shadows more deliberately and spontaneously. The light of a Ringflash is known for its very uniform – at best slight- ly centre oriented – fill. Honeycomb grids allow the lighting angle to be directed more accurately. As a re- sult, illumination similar to a spot- light is achieved while retaining the typical shadowless characteristics the Ringflash is known for. The angle of the Ringflash C can be adjusted independently from the camera, all- owing more flexibility for directing light to the area where accentuation is desired. 3 Ringflash C Light characteristics When using a Ringflash, the light source is evenly distributed around Make it shine Make and very close to the lens. Light without shadows is the result. With one exception: If a background is not illuminated with additional (natural or artificial) light, shadow contours may appear around the object or model. These shadows are larger when the object is farther Fill in perfectly away from the background. You can see these shadows and the influence of the distance very clearly in the pictures of the chairs (p. 12). Use the Ringflash differently 4 Ringflash C How To – Make it shine In the following photograph the shadow contours cannot be seen be- cause the background is illuminated by natural daylight. A Ringflash is a very hard light. This is why shiny materials take on a beau- tiful glow. In this shot, the Ringflash C makes silk look like silk (Softer or even diffused light might make silk look like cotton.) As mentioned earlier, the light of a Ringflash comes from very close to the optical axis. -
The Institute of Photography Equipment and Facilities Hire – 2018/2019 ______
The Institute of Photography Equipment and Facilities Hire – 2018/2019 ________________________________________________________________ As Europe’s premiere photographic education facility we are pleased to be able to offer our facilities for hire on a commercial basis. With 9 studios, darkrooms, digital suites and a professional print facility as well as cameras, lighting and accessories from the world’s top brands, we can meet the needs of the most demanding professional whilst still catering for the advanced amateur. We have far too much equipment to list everything here, so if you can’t see it, please ask. Call the Photography stores on 01326 213703 for details or email us at: [email protected] More information on our FaceBook page: Falmouth University Photography External Users All prices exclude VAT at 20% The Institute of Photography Equipment and Facilities Hire – 2018/2019 ________________________________________________________________ Daily 1/2 Day Studios (9am to 9pm) (6 hrs) Copy Stand and lighting rig for reproduction of flat artwork. Please note this is not in a private studio. £25.00 £15.00 Studio 1 (8m x 8m approx) with large access door, infinity coving, Elinchrom computer controlled flash lighting on overhead gantries (4 heads plus window light), MacPro computer with Capture One £135.00 £90.00 Studio 2 (8m x 8m approx) infinity coving, Profoto computer controlled flash lighting on overhead gantries (6 heads available), MacPro computer with Capture One £135.00 £90.00 Studio 3 (8m x 8m approx) Elinchrom computer controlled flash lighting on overhead gantries, 6 heads available, paper backgrounds, MacPro computer with Capture One £135.00 £90.00 Studio 4 (8m x 8m approx) infinity coving, Elinchrom computer controlled flash lighting on overhead gantries (6 heads available), paper backgrounds, MacPro computer with Capture One £135.00 £90.00 Studio 5 - (5.8m x 5m) smaller studio, paper backgrounds, 4 Elinchrom flash heads on stands, MacPro computer with Capture One. -
General Service Incandescent Lamps Data Availability RFI Comments
Appliance Standards Awareness Project American Council for an Energy Efficient Economy National Consumer Law Center Consumer Federation of America Natural Resources Defense Council Northwest Energy Efficiency Alliance Northeast Energy Efficiency Partnerships Alliance to Save Energy Northwest Power & Conservation Council Southeast Energy Efficiency Alliance October 16, 2016 Mr. Steven Chalk Acting Deputy Assistant Secretary for Energy Efficiency and Renewable Energy Appliance and Equipment Standards Program, U.S. Department of Energy Building Technologies Office, EE-5B 1000 Independence Avenue SW Washington, DC 20585-0121 Docket Number: EERE- 2017–BT–NOA–0052 Dear Mr. Chalk, This document constitutes the comments of Appliance Standards Awareness Project, American Council for an Energy-Efficient Economy, National Consumer Law Center, Consumer Federation of America, Natural Resources Defense Council, Northwest Energy Efficiency Alliance, Northeast Energy Efficiency Partnerships, Alliance to Save Energy, Northwest Power & Conservation Council, and Southeast Energy Efficiency Alliance to the Department of Energy’s (DOE) “Energy Conservation Program: General Service Incandescent Lamps and Other Incandescent Lamps Request for Data” published in the Federal Register on August 15, 2017. (82 Fed. Reg. 38,613). The “Request for Data” appears to have been issued in response to a settlement agreement between the Department and the National Electrical Manufacturers Association (NEMA) to resolve a lawsuit brought by NEMA.1 We are concerned that the settlement and this Request for Data suggest an effort by the Department to work together with the major lighting companies to roll back lighting efficiency standards that apply beginning in 2020. Any attempt by DOE to circumvent the legally-required standards would be unlawful and would harm consumers. -
Lighting 101
Strobist ::: Apparatus minor • Cogitatio magis • Lux melior ::: Lighting 101 http://strobist.com ver. 12-2013 Introduction Welcome to Lighting 101. You may not realize it yet, but you have just stepped through a door that may change your photography forever. Over the past few years, over four million people from nearly every country in the world have begun their lighting education right here. And if they can do it, you can do it. Photography is literally writing with light. As you read through Lighting 101 you'll learn how to control every aspect of your electronic flash. If you can imagine it, you'll be able to create it. You'll learn how to take the removable flash that you probably already have on the top of your camera and use it off-camera to make beautiful, more three-dimensional photos. Once you learn the basics of controlling light, you'll quickly see that most lighting is intuitive, easy and fun. The Good News: The Gear Doesn't Cost Much (Photo by Strobist reader Sam Simon) Basic lighting gear is also refreshingly inexpensive. If you have a camera, lens and flash you have already done the spendy part. The gear needed to take your light off-camera is very inexpensive compared to your camera, your flash or even a single lens. By getting your flash off-camera, your images become more three-dimensional, more textural and more professional looking. All of the photos on this page were made by Strobist readers (who very recently may well have been exactly where you are right now) just lighting with small flashes. -
Lighting and Studio Photography Version 2.0
Lighting and Studio Photography Version 2.0 Matthew Chapman UNSW Photography Club [email protected] 1 LIGHTING BASICS Small light sources produce hard shadows Large light sources produce soft shadows ➜ N.B. Distance also affects effective size. LIGHTING BASICS 2 TYPES OF LIGHTING Sunlight ➜ Direct sunlight is hard (point source) ➜ Sky light is soft Tungsten/halogen lighting ➜ Electricity heats up filament which glows white hot ➜ Small hard source, but easy to add modifiers to direct light ➜ High power usage and heat output Fluorescent lighting ➜ Around 5 times more efficient than tungsten ➜ Complex/unpredictable colour spectrum TYPES OF LIGHTING 3 TYPES OF LIGHTING Flash lighting ➜ Very short high-intensity flash of light — much brighter than practically achievable with continuous lighting ➜ Must be synchronised with camera shutter ➜ hotshoe or X-sync connector ➜ Sometimes combined with a continuous modelling light to allow the photographer to visualise the lighting TYPES OF LIGHTING 4 DIRECTION OF LIGHT From the front: ➜ no shadows, flat From above: ➜ soft light can be useful for fill, like a cloudy sky ➜ hard light casts harsh shadows downwards From the side: ➜ emphasises form and texture From behind (rim lighting): ➜ emphasises the outline of the object ➜ typically use a grid to avoid light hitting the lens directly DIRECTION OF LIGHT 5 SHADOW CONTRAST A single light produces very deep shadows in areas where it does not reach. Reducing shadow contrast: ➜ Add a reflector to bounce light into the shadows ➜ Move the light further