twmeyer

<p>The most valuable attribute I've found in doing what you describe, is something with around 400ws that runs on batteries. I used to use Lumedyne, and when ambient light levels are low, they work fine, except for the variance in color temp, which when balancing against twilight, isn't too critical. Currently, I'm using either an SB900 with a couple of SB800s, or a pair of Einsteins with the Mini Lithum Vagabond. Both are fine in the power and color fidelity departments, but both are quite top heavy, unlike the Lumedyne. Consequently, I now have a rolling case that holds two turtle base C-stands (The Kupo ones, with a detachable base that pack smaller) for the Einstens. Since I changed to this combo, all the best locations seem to be closer to the car than when I used the Lumedyne. <br /><br />For modifiers, I like the umbrellas and/or umbrella boxes (like the Westcott Apollo Orb) with the Lumedyne and the SB. With the Einsteins, it's either an umbrella (reflective or shoot through) or Buff's octa boxes, just because the setup is faster. Anything that hides the controls of a monolight requires additional hardware (PW AC3/Mini TT1 with a MC2 receiver, or the Buff Cyberlink) and the SB requires the CLS system (requires line of sight) or tearing the diffuser off every time a manual power setting change is needed. Not a big deal for me.<br /><br />The <a href="http://www.bhphotovideo.com/bnh/controller/home?O=&sku=62705&gclid=CMDjz93uor8CFeXm7AodrV8Aiw&is=REG&Q=&A=details">right model of the Halo</a> lets the control panel be accessed on the SB's and the Einstein without digital "middle men". The Lumedyne's controls are on the pack that hangs as a nice weight low on the stand. They are heavier than the Vagabond Mini-Lith (which is an inconsequential counter weight to the Einstein, but a superior system, in every other regard). The right model of Lumedyne is steplessly controllable. Their batteries are high maintenance. <br /><br />I have a <a href="http://www.phottixstore.com/store/studio-accessories/phottix-multi-boom-16-flash-bracket.html">nice rig</a> that lets me fire two SB800s in one modifier (like the 45 in Halo or the Orb) both of which are more efficient than a shoot through, as they trap and direct the light through the front diffuser). The <a href="http://flashzebra.com/products/0216/index.shtml">right cord from Zebra</a> enables triggering both by one Pocket Wizard, which leaves the SB900 for a back, or background light. It's a very versatile kit, but needs a sand bag to survive even a light wind<br /><br />Lately my predominant modifier of choice is the appropriate umbrella for the subject. I think they have better edge, anyway, than the other tools. And there are so many with such delightfully different attributes. And they're just easier... t<br /><br /></p><div></div>

To make photos that look like Fred's, you'll need two strobes, of not great power, one of which should be in a softbox, perhaps even a smallish one (16x20 or 24 square). Place the softbox to one side or the other of the camera and the other, zoomed to its longest focal length (or in a gobo or gridded) and set somewhere behind the dog and pointed at him/her. You could make this work with a second SB800 and an umbrella (or umbrella box) instead of the softbox. And of course the backdrop. Google Duvetine or Commando Cloth. You'll need fairly small apertures, possibly higher ISO (like 800) and a relatively dark room (no windows) to keep your shutter speed high. Your dog will get bored before you do… t

Yep, "Children doing what?" Is the question… t

<p>the interpersonal dynamics, the lighting ratios and the post processing are all critical to this guy's style/success. That and a bottomless well of freakishly "beautiful" people... t</p>

<p>I've got a 3/4in conduit frame that was made to hold a king sized fitted bed sheet perfectly taut. I wouldn't want to use it in even a mild wind. <br /><br />Other than that, just dangling various things between the subject and the light... they shaped and changed the light, but I would not call such an assemblage a "modifier"... t</p>

Aspects of your question indicate some familiarity with the tools and concepts. I'd use the softbox as a main light and the other strobe unmodified (hard, no diffusion) from the rear to light both the wall and your friend. A raking light on the wall will create a gritty texture while the same light could add a literal edge light to your model. Be sure to pay attention to her hair, which needs to be styled to look good with a hard backlight. Since this is a casual shoot with a friend, go in to it without trepidation. If all you get out of it is what *not* to do next time, you'll be ahead… t Watch for that back light hitting your lens and causing flare, but also try it deliberately… you *did* say "edgy", didn't you?)

You might want a second printer. But more details regarding the printing component of this job would help. Consider giving each photographer a white board and marker and make the first photo before each group/person of them holding the board with their ID written on it… t

<p>$100 per hour, or tell her to get a dye job and reshoot... </p>

<p><em>"it needs to be really reliable, fast, produce amazing prints and be cost efficient.. Any ideas welcome"...</em><br> <em> </em><br> Good, Fast or Cheap... pick any two.<em><br /></em></p>

<p>ha</p>

<p>Why Henry's? Limited selection.<br /><br />My suggestion is get an umbrella to use with <em>one</em> of your strobes and shoot with just that every day for a month. Then add your other strobe with no modifier other than a snoot, ala David Hobby, made from a cereal box. Use those two lights for a month, every day. By then, you'll know exactly what you'll want/need next... t</p>