What The Heck Is “Beauty Dish Mode”?

What The Heck Is “Beauty Dish Mode”?

I’ve had a few questions on Twitter about just what I mean when I say I use my 70cm Elinchrom Deep Octa in “beauty dish mode”, so this quick post is to show what I mean.

 

This is the way you’d typically use a soft box with both layers of diffusion material in place for maximum softness.

Elinchrom 70cm Deep Octa - Fully Diffused

However you can remove the outer baffle and let the light be a little harder and more specular.

Elinchrom 70cm Deep Octa - Only internal diffuser

But the way I have been using it for portraiture recently is with all the diffusion material removed and the small round reflector inserted about 15cm in front of the flash tube. This stops the majority of the light firing forwards and instead sends it out towards the reflective inside of the Octabox, very like a beauty dish (hence my cunning nickname for it!). The light is still flattering, but it’s punchier and more ‘contrasty’.

 

Beauty Dish Mode

You’ll find some images created by using the Deep Octa like this in the recent post entitled Death of a Cover Car.

My New Mobile Lighting Rig

My New Mobile Lighting Rig

Last week I finally pulled the trigger on some more powerful lighting.

Originally I was drawn to the Elinchrom Quadra’s but the price and the reported issues (poor battery clips and no protective caps for the heads while in transit) put me off. So I looked into alternatives like the Bowens TravelPak system and the Lencarta Safari but held off from making a purchase because both were far bulkier. Then Elinchrom released the Quadra RX – basically a Quadra with bug fixes!

So far I can’t praise these Quadra RX’s enough – solid build quality, power, speed and the ability to adjust power from camera.

The only slight downside are the included reflectors. They don’t focus or control the light at all, giving almost 180 of spill as you can see in the image below. I shall be ordering the 18cm ones today.

Stay tuned for some more sample images and opinions.

Shooting the Ripraw Girls at USC

Shooting the Ripraw Girls at USC

Another weekend, another car show and this time it was USC (Ultimate Street Car) at Santa Pod.

I wasn’t lucky enough to have any secluded barns to shoot in this time so it was a case of making the best of a bad lot. And at car shows, it’s a very bad lot – even when your subjects are the Sextons Direct / Ripraw girls!

You’ve got cluttered backgrounds, harsh mid afternoon light and crowds.

First of all, I toured Santa Pod looking for a location without people, cars or fairground rides lurking in the background. Luckily Santa Pod is out in the middle of the Northamptonshire countryside and backs onto some open fields and I was able to find this on the edge of the showground.

I chose this partly for the view but also as facing in the this direction the sun was be coming from behind the subjects – about 2 o’clock from this view. This way, the girls weren’t squinting into the bright light and I’d be able to add my own soft, diffused light from camera left.

Which leads nicely onto Problem Number 2 – the harsh sunlight. As it was coming from over the left shoulders of the girls it served as a nice separation light which, if I under exposed the background slightly, would make them really ‘pop’. But that would also leave faces in shadow, so out came the lighting.

Working in manual mode, I set my 5D MkII to sync at it’s max sync speed (1/200th) but in order to get some detail in the bright sky I was having to shoot at f/10 which meant needing to drive the flashes hard. So hard in fact that in order to keep a decent recycle time I had to gang 3 SB-28 at 1/2 power though a single shoot through umbrella. Think Joe McNally‘s speedlight tree on a budget!

With lights and locations sorted, it was time to bring on the car and the girls. This always draws an instant crowd at car shows but due to the location, apart from a few passing cars, the onlookers were behind the camera.

And onto the results. Well worth a bit of location scouting and 5 minutes of set-up I think.

Big thanks to Chris for the loan of the car and of course for the girls for doing their thing in front of my camera.

Painting With Light

Painting With Light

The word photography comes form the Latin ‘photo’ and ‘graphico’ and translates literally to “writing with light”.  I took that literally this weekend and did some light painting. It was a full moon on a clear, frosty night and I happened to be staying in Wales, just a few miles from a small wind farm so the opportunity was too good to pass up.

Light painting is a simple idea and it doesn’t take much trial and error before you start getting good results. You will need your camera locked down for this as you are taking long exposure shots – in this case 30 seconds. A tripod is best but a bean bag on a car roof/gate post/sleeping cow would suffice.

Use your camera’s built-in meter and juggle your aperture and shutter speed until you get a good exposure. By “good” I don’t mean zeroed out on the scale in your viewfinder however. We are shooting at night here so obviously the shot is going to be dark and we will be painting in some extra light in the foreground so we need to stop the camera trying to make everything look like a mid grey. Minus 2 stops should be about right, but take full advantage of shooting digital and fire off a few test shots. You can shoot in Aperture Priority mode for this and use the +/- EV control or you can go Manual for more control or if you need an exposure longer than 30 seconds.

Once you are happy with the overall exposure, you can start adding light. This is where the trial and error comes in as this is no exact science and there’s no TTL  – you are simply shining a torch on your subject. Obviously the bigger the subject and the further away it is, the more powerful torch, or longer exposure you’ll need.

For this example I was about 30m away from the wind turbine using a small, yet powerful and tightly focused LED torch.

About 5 seconds tracing the beam up and down the tower with the remaining 25 seconds spent highlighting the rotating blades seemed to yield the best results. As you can see from the image on the right, there is quite a marked difference when adding the light to the image. 

Once I had this dialled in, I shifted my composition, gave things a little tweak in Lightroom  and came up with the result below.

How To Mount Your Wireless Off-Camera Flash

How To Mount Your Wireless Off-Camera Flash

OK, so you’ve read strobist.com, and joined the Strobist Flickr group. You’ve gone on eBay and bought your “Cactus Triggers” or “Poverty Wizards”. Now it’s time to put it all together – Just how does tab A slot into tab B? Well here’s what I have settled on.

I currently have the Phottix PT-04TM wireless flash triggers, bought from HKSupplies on eBay. These triggers may not be 100% reliable, but I am getting very few non fires and even fewer miss fires. They are no Pocket Wizard, but they only cost pocket money.

The PT-04TMs are intended to mount onto your cold shoe or umbrella bracket or screw onto the standard thread atop a light stand with the flash mounted on top. The trouble is, this makes the whole assembly very tall and unwieldy and I found the flash would flop forwards and finish up illuminating my light stand very nicely!

So I set out to try and find a way of lowering the overall height to reduce the leverage. Here’s what I came up with:


Obviously there’s the flash. Then there’s the PT-04TM, with the plastic foot removed, velcro’d on top (you do have velcro on your flash head don’t you?)

Attached to the hotshoe on the receiver is a cheap hotshoe to PC sync adapter (designed to let you use a PC sync cord with a camera that has a hotshoe but no PC sync port) bought for a few pounds from eBay. If you have the slightly newer receiver that has a PC sync port on the side, you don’t need this.

Moving down to the bottom of the flash we have a Kaiser 1301 Hotshoe Adapter (designed to let you use a flash that has no PC sync port on a camera that has no hotshoe).

So basically, when the receiver triggers, instead of going straight over a hotshoe to flash connection, it travels over 6″ of wire first. There’s nothing clever happening, it just makes everything more convenient.

The Kaiser 1301 Hotshoe Adapter has another benefit: It has a normal foot so you can use it with all your other umbrella mounts, but it also has a standard 1/4″ screw thread on the bottom for mounting onto any standard light stand, tripod, or in my case, a very small, very cheap Hama 5011 ball head.

It may not be the tidiest setup, but it work for me… at least untill I can get my hands on some of those Pocket Wizard Flex/Minis!