Just a few years ago, the most common question we had about photography on the FSM was: “Do you accept digital pictures?” It’s funny how things change. Now the question arises: “Are you still filming a movie?”
The revolution of the digital image changed the landscape of photography, and the FSM changed.
Halogen working lights
Here’s another improvisation to tell you that you think. I removed the 1000 V halogen lamp from the warehouse and sent them a model from a safe distance. Even with the installation of two units, such high-intensity light without diffusion has created sharp shadows. Then I lit the lights on the white ceiling above the model. This is called reflective or reflective illumination and has the same effect as the diffuser. Lighting softens and softens.
I would not recommend buying halogens especially for photomodels because they are too hot and clumsy, but if you already have something similar and just record your models several times a year, you may be able to improve the solution.
Let’s say that, like me, you have a casual bag full of old cameras from the time of former administration Gerald Ford (and some really cool pants). Somewhere in my collection there were some flashlights. Can I really use those old beasts with a digital camera?
If you are thinking about it, you need to know the trigger voltage at which your flash moves relative to the twitching of the electronics of the camera.
You can also activate the flash remotely instead of setting a flash on the camera, which is almost never the best flash location. If your camera has a PC synchronization connection (most mid-range cameras and DSLRs have one), you can run cheap sync cables to blink. You can also find the synchronization adapter with a computer that matches your flashing if the camera lacks synchronization with your computer. Just ask a good camera store.
A modern way to do this is the transmitter mounted on a flash that will speak the same language as the transmitter. These units are usually infra-red or radio-controlled, and I think most would say they are expensive.
Many cameras with arrows and even some middle class have no output for flash synchronization. Here’s the opportunity to put this boring little flash on the camera to work.
Some flash on the camera activates the flashing of the remote control using cheap optical sub-devices or triggers. Ask a good camera store for the appropriate flash so that the flash matches your flash. I use the $ 15 Vein Peanut Slave in each of the flashlights. Then pour part of the card through the flash on the camera by refusing the flash from the subject, but not so much that the light can not turn on the light for activating the remote control. The idea is to avoid sharply direct blinking of the flash on the camera, but some sensors “see” enough reflective light from the cardboard.
If you have manual control over the output of the flash, you can reduce the flash and disperse it with some transparent material instead of protecting it. Again, use it only to activate the optical edges of each remote flash without adding too much light to the subject.
When you receive these remote controls, you can try the same lighting that we have described for halogen lights. Point the flash on the white ceiling above the model and adjust the position of the light until you see the desired effect.
I’ve shown some of the common low-cost lights / lights you can try. I use Stofen Omni-Bounce diffusers at the top of the flashes. Follow the photographer’s pool during the next presidential photo or follow the equipment of the paparazzi as Paris Hilton turns to New York. I bet half of the cameras will be decorated with these small plastic devices.