Photography enthusiast Kris Robinson used to handhold a flash above his subjects for macro photographs, but then he got tired of doing that and ran out of hands. He then came up with the brilliant idea of making a do-it-yourself contraption that attaches to his flash when it’s mounted to the hotshoe. The light travels down a tube lined with reflective aluminum tape, and is bounced downward onto the subject through a diffused lightbox. For a couple sample shots, see here and here.
P.S. Robinson also offers a tip for shooting macro photos of insects: if you place them into your freezer for a minute or two, they’ll sit nice and still for a while before warming up and scurrying away.
Image credit: IMG_0495 by Kris Robinson and used with permission
David Hobby has written up a great post over at Strobist on how he avoids shoot-ruining confrontations with police officers when shooting in public locations (we shared an example of a confrontation yesterday). His tricks include calling the police ahead of time and leaving notes on the doors of houses nearby:
Before I shoot (a couple hours, usually) I call into the duty officer of the local precinct. I tell them my name, that I am a photographer, and where/when I will be shooting. I explain that, just in case some overenthusiastic passerby calls me in as a suspicious person, I just want to save them a call. I offer them my cell number, and ask if they want my sosh or driver’s license number. I have never been taken up on this, but I would happily give it.
[...] I print up a sheet and stick it in everyone’s door who is within eyeshot of the shoot at night. Because believe-you-me, it you are popping flashes in the woods at 2am, some idiot will absolutely call your butt in. To them, it’s gotta look pretty much like Close Encounters of the Third Kind.
Some of you might not like these tips because they appear to be the equivalent of putting up a white flag in the fight for photographers’ rights, but they may come in handy if one day you have a critical photo shoot that you can’t afford to have interrupted.
For those of you who are interested in the fine art of studio lighting, here’s a video in which American celebrity photographer George Holz talks about how he went about photographing Beyonce for the cover of Spin magazine.
You can make yourself a quick and simple snoot by cutting off the upper portion of a soda bottle and covering it with gaffer tape. While it’s definitely not the most elegant solution, it’s a cheap way to isolate your subject when shooting with a flash unit.
If you have a potato chip tube lying around, you can convert the tube into a super simple DIY snoot. All you need to do is cut an opening in the closed end that’s the size of your flash head (tip: use some duct tape to prevent it from scratching your flash). Read more…
Photographer Jesse Rosten wanted a more efficient and mobile way to do off-camera lighting, so he invented this backpack-style apparatus that he calls “The Strobist Jet Pack”. Although it’s pretty ridiculous looking (it reminds us of Ghostbusters), it works well for placing lighting equipment in exactly the place needed while still being able to move about. Read more…
Optical sensors are a cheap way to trigger slave flashes if you don’t want to pay for a wireless transmitter, but the fact that you’re firing your on-board flash to trigger the sensors limits your creative options. Flickr user Victor came up with the idea of turning an on-camera flash unit into an infrared transmitter by covering up the flash with a filter. The filter is simply a piece of processed (but unexposed) E6 slide film — it blocks visible light, making it completely black, but allows infrared light to pass through and trigger optical sensors.
If Doctor Octopus were to design a DIY flash accessory, it might look a little something like this. German microbiologist Marcell Nikolausz has been experimenting with using fiber optics to split a single flash unit’s light into multiple light sources. Optical fibers are threaded through Gorillapod-style Loc-Line channels, allowing flexible and stable positioning of the light sources. Each individual light source can be controlled using various modifiers (e.g. diffusers, gels, etc..), changing their quality and intensity.
For some sample photographs taken with this contraption, check out this set of photos. You can also learn more about Nikolausz’s experimentation on his blog.
When we featured Strobox back in 2009, it was a simple idea: provide an easy way for photographers to create lighting diagrams and share them with others. Since then, they’ve upgraded their website to include a gallery where you can browse photographs done by others, view their lighting diagrams, and comment on them.
If you don’t have a full arsenal of lightning equipment, you can filter the photos by what kind of lighting equipment was used to browse photos that are more relevant to you. Read more…
Editor’s note: This walkthrough was originally published on Clint Decker’s Flickr account. We found it pretty informative and asked him to share it here.
Here is a little video on how I did the photography with Canon Speedlites while dropping items into a tank of water.
With a white background, I used a Canon Speedlite 580ex II on the left and right of the fish tank with water. They were set to manual 1/128sec.
I had a Canon Speedlite 430ex II on a chair behind the fish tank pointing towards the white background so it would come out pure white. This was set to manual 1/64th of a second (I would of done 1/128 but the 430ex II can only go down to 1/64). You want to go 1/128 so it freezes the splash mid air. Read more…