One of my favourite TV series from the 90s was MacGyver, an action-adventure series about a US government secret agent with a fabulous mullet, who improvised and built complicated devices from household objects such as rubber bands, paper clips, pens and a Swiss Army knife. He has a shock of short red hair and a pair of rectangular-framed glasses, MacGyvered with duct tape.
The other week I was caught short on a night shoot because I’d misplaced my small softbox modifier, and needed to come up with a way to soften and control the from my speedlight to create portrait lighting. The really cool thing about lighting is that the basic principles will work with any kind of light, regardless of budget, or the type of modifier used.
One of the best lessons I learned from working with film and television crews is that ordinary household objects can be used to shape and train light.
Some modifiers, like umbrellas, will spread the light over a large area and soften the quality of the light.
The main differences between the high-end options, and MacGyvered lighting are: light quality, consistency, and build. This is how I created my mini softbox using a paper bag, an elastic band, and a chocolate donut.
Booms are an awesome way to add light above your model, as they allow the freedom to work without stands getting in the way of your shot. I’ve created this lightweight location boom by using a mini-boom arm on an umbrella bracket, attached to a light stand. A cheaper alternative to the boom is to use a light pole, and to ask a friend to hold it for you.
Nutella donut in a white paper bag – you can use plain donut but they are not as good! Carefully remove the donut from the bag, being careful not to get any Nutella smeared on the bag. If you prefer a cleaner style of shooting, just ask for an extra bag when you buy your donut.
Using one light from overhead looks great, and adds definition to the model’s bone structure. I placed the reflector on Luke’s (my model) lap because I was shooting very tight headshots.
Here are a few more awesome Macgyver lighting hacks that my podcast listeners have shared with me. This gorgeous image by Brett Ferguson was created with a light modifier Macgyvered together with a ping pong ball and empty toilet rolls.
Photographer Glen Dube has Macgyvered this brilliant grid spot using a Pringles container and straws. This is basically just a Pringles can, with the bottom cut out and replaced by straws, hot glued in place.
The length (and diameter) of the straws determines the size of the spot and there are even online calculators. Photographer Andrej Valko created this really simple portable pop-up flash modifier using cardboard.
It was easy to mount (it just slid in), easy to carry (in a back pocket just like a business card) and it bounced light off the walls and ceiling, as well as off my face! Cost is about $10 for a full liner made by Contact, and attached with Velcro strips for about an additional $6. Not a light modifier, but I MacGyvered a manual flash power control for old Metz with a masking tape when needed it for shooting through an umbrella. In this set-up the flash measures the light level that is reflected back from the umbrella. MCCANN WORLDGROUP’S BEN LILLEY PRESENTS: IS THE CREATIVE TEAM DEAD, OR HAS IT JUST BEEN HIPSTERIZED? ADFEST UNVEILS ITS 2016 PROGRAM LINE-UP FEATURING PLAYGROUND (SEOUL), CIRKUS (AUCKLAND), TRACKS & FIELD (BERLIN), DENTSU INC. UAE, 17th January, 2013 – FUJIFILM showcased a broad spectrum of photo and imaging solutions at the 2013 Consumer Electronics Show in Las Vegas, from 8th-11th January, under the theme, “Fujifilm. At CES 2013, FUJIFILM showcased its award-winning, professional grade X-Series digital cameras.
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FUJIFILM showcased the newest consumer model of Instax Instant Film Cameras, including the new INSTAX™ Mini 8 and new rainbow frame-colored instant film. I’ve seen many articles on the web explaining the basics of digitising film negatives or transparencies with a digital camera. Very precise control over colours, highlight and shadow curves, while making use of the vast film dynamic range. All the following instructions have the objective of achieving the best possible resolution, colour depth and dynamic range out of the film, while keeping image noise as low as possible.
Again, ideally you should either use a macro tube with a prime lens or a macro lens, but if you don’t have any of these, your kit lens will also do the job, with a bit of loss in usable resolution, due to cropping. The basic idea is pretty simple, you need a diffused, homogeneous light source, a way to hold your film, and a digital camera focused on the film. What you need is to pick the sharpest lens you’ve got, and make it focus close enough so that the picture in the film, fills up the camera sensor as much as possible. After making sure that the camera is focusing precisely on the film, you must keep everything stable enough not to bump into some of the parts during scanning. Set the white balance to the warmest possible colour (such as incandescent or candle lighting), for colour negative film.
I usually place the flash at about 30cm away from the film and make it shoot through a cardboard box so that the light doesn’t splash all over the room and cause unwanted reflections on the film. This process is pretty much straightforward, once you’ve set up everything correctly, you just shoot, slide the film to the next frame and shoot again. You may use any RAW development tool such as Lightroom, Aperture, Camera RAW or Capture One.
The first two steps affect all the images in the same way, so we start by selecting all images.
While keeping every image selected, the next step is to invert the colours, to get a positive image. You can now select a single image at a time and as a starting point, use the auto white balance tool to get a good approximation of the original colour.
This is perhaps the most interesting and creative part of the post-processing as it lets you capture all the awesome dynamic range of film, with a great level of control over the tone, highlight and shadow curves. You can now increase the contrast at will by adding points in the middle, looking at how the curve affects your image. You may notice that even after moving the temperature slider all the way towards the blue end, I still get a blue tint. As you can see, the greenish blue tint is gone because I’ve moved both G and B curves down. Nowadays, when people start their journey into analogue photography, most of them will begin on a 35mm film camera .

David Hockney is an English painter, draughtsman, printmaker, stage designer and photographer. The economic crisis of the 1930s is one of the most studied periods of American history, and facts about the Great Depression are interesting to read. Why are you asking me for personal information?We collect personal information including your contact and demographic information for the purposes of identification, account administration and display of personalised content and advertising. We tested the cameras in various situations including bright sunny day, moving objects, close up, etc.
For close-up photography, DSLR users can switch to a macro lens, which gives this nice depth of field effect.
One of the most difficult times to shoot is during a bright sunny day, especially when you are shooting a landscape. When you're photographing something from far away, a helpful feature in photography is the ability to zoom. The point and shoot actually allowed us to zoom in even further, but we lost a lot of definition and focus. Shooting directly into the sun usually results in lens glare, the sky turning white, and dark shadows.
The point and shoot avoids the lens glare, but has trouble showing detail in the sky or in the shadows. The point and shoot does a good job of showing the buildings in front, but is too bright to capture all of the colours of the sunset. The iPhone, on the other hand, does an excellent job of capturing both the colours and the building. An online magazine dedicated to bringing original content in the art and craft of photography. The filter can be a square or oblong shape mounted in a holder accessory, or, more commonly, a glass or plastic disk with a metal or plastic ring frame, which can be screwed in front of the lens or clipped onto the lens.Circular polarizers are specifically designed for use with auto-focus SLR cameras, but they will also work on manual systems without problems. I rummaged through my bag and found a chocolate donut (Nutella filled, so good!) in a white paper bag, and a hair elastic which would be perfect substitutes for the softbox I’d forgotten to bring to the shoot.
So whether you’re working with a $150 lighting kit (similar to the one I used for these images) a $1,500 hit, or $15,000 one, the light will still react in the same way. I’ve seen soft light created using sheets of Perspex, calico, and even shower curtains. Other modifiers like grid spots contain the light to a very small area and create a hard quality of light (click image above to read more). A light modifier that has been cobbled together using found objects is not going to look pretty, and you may attract some odd looks from passers by. Always remember to use a weight on the light stand, to avoid it tipping over in high winds. If I were shooting a ¾ or full-length portrait, I would position the reflector on the ground, just out of the shot. But I found coloured straws tainted the light, luckily my wife found some paper straws that have a nice bright white inside. I found the flashes zoom function has little effect but the calculators are accurate for determining the spot sizes.
She has photographed some of the world’s most high-profile people including royalty, billionaires and A-list celebrities.
I did something similar with soda straws but after the glue dried, I dunked the assembly into flat black paint. I have been guilty too of using a $5 modifier to perfect the light captured by my $3000 camera LOL.
I have a quick question….why did you opt to shoot with a lower shutter speed instead of higher ISO?
That’s the beauty of overhead lighting, very slight changes in the angle of the light will effect how much of the face is lit. Developed to appeal to generations of professional photographers that appreciate true craftsmanship, the FUJIFILM X-Series digital cameras combine the highest caliber FUJINON lenses and advanced APS CMOS sensors with the latest EXR image processing technology to deliver extraordinary image quality. The all-new INSTAX Mini 8 instant film camera offers user-friendly control functions, fun style, and fantastic image quality found in the current INSTAX Mini models. The basics are quite simple: you take a photo of a negative into a light source and invert.
Also, when you scan, you make some artistic decisions over contrast and colour that are often definitive. Even if I did, good film scanners cost a fortune and I get better quality from scanning the film with my DSLR than I would if I used an average scanner. Some people do this because it’s faster than using a scanner, but that depends on how much time you spend post-processing, and I do spend a bit more than I would like to admit, but it is a time spent doing something that gives me pleasure, not pressing buttons on a poorly designed software and waiting for a tedious scan. You could set up your flash as slave and trigger it with the in-camera flash but you would have to do it in a way that it wouldn’t get any light reflecting off the film surface, which may be a bit hard.
Because you’ll be focusing at a very close distance, the depth of field will be very narrow, so focusing precisely and keeping the distance between the film and the camera exactly the same throughout the scanning. The combination of equipment that works best for me is a 35mm 1.8G Nikon lens with a small 20mm macro extension tube.
This makes sure that the camera won’t try to change focus every time you take a picture. Some cameras let you manually configure the light temperature so push it all the way to the warm side. Most lenses have their sharpest aperture at around f8 and we do want the sharpest possible image, don’t we?
I have also cut a small hole in the cardboard box and place a lamp above it to have some light shine through the negative and make my life easier when focusing.
Just make sure you have put the film in the right way and not inverted, as it will make your life easier later on. I usually use Adobe Camera RAW (the RAW development tool that pops-up when you open RAW files on Photoshop) and occasionally Capture One when I just can’t reach the desired colour in Camera RAW, such as with underwater shots (Capture One has wider envelopes for white balance values, for some reason). This can be done going to the Point tab of the Tone Curve Settings in Lightroom and moving the left point of the curve to the upper left corner and the right point to the lower right corner. I won’t be able to correct for all the blue excess at this stage because Lightroom trims the white balance envelopes, but we can correct that afterwards in the curves panel, as you can see on the next step.
Because we have inverted the colours, the left end of the curves represents the highlights and the left, the shadows. In this case I was mainly looking at the skin tones and how the parts in the shadows develop into sun lit highlights (which is one of the good things about shooting film, if this shot was taken with a digital camera, the highlights would probably either be blown out or have a bad-looking yellow tint). This can be corrected by changing the curves on the different Red, Green and Blue channels. After that I also noticed the image had a slight undesirable red shadow but overall it could use a warmer tone so I added one point in the lower half of the R channel and moved it below the diagonal, and another in the upper half and moved it a bit upwards. It’s also a good idea to select sRGB instead of the default Adobe RGB colour space by clicking those blue parameters on the bottom of the window. Scholars have studied the economic calamity from all angles and amassed an immense collection of facts about the depression.
Greendale, Wisconsin, Greenhills, Ohio and Greenbelt, Maryland were created during work relief programs.

With a DSLR, you can change lenses to something more appropriate for portraiture, like this 50mm macro lens.
You need to use a wider aperture with a slow shutter speed, but you have to be careful not to use too slow a shutter speed and risk blurring.
The DSLR does a great job of capturing both the buildings in the background and park in shadow in the foreground, keeping both in focus. With the DSLR, we were able to swap in a 70-200mm telephoto lens to shoot this street corner from our roof a block away. The DSLR has no trouble rendering the blue sky, but there is lens glare in the center of the photo. While it renders some of the sky blue, there is extreme lens glare coming from the left side and there is no detail in the shadows. During sunset, a camera has to capture the sunset's colours, as well as be able to shoot in darker light. The brightness is likely due to the point and shoot's automatic setting, which would assume that whatever is closest is the most important to capture. The DSLR is slightly sharper and has more detail in the shadows than the iPhone photo, but we had trouble telling the difference at first. It has many times more options and the larger file sizes, which allow for clearer and increased detail, especially when enlarged or printed. On a positive note, I believe a MacGyvered light modifier is a perfect way to get your head around how lighting works, and to vary your lighting styles without having to empty your bank account. You can buy a sandbag, or MacGyver your own using two-litre drink bottles filled with water in a canvas bag. I think it’s a flattering style because it leaves the face in partial shadow, and creates the illusion that the face is slimmer. I use this style of lighting for 80% of my studio and location shoots, as I believe it is one of the most natural-looking lighting techniques.
It was really important to have a soft glow, and realistic shadows, to emulate what the moon would look like. The end of the can you get the chips out slides right over all the flashes I have, except this really old Vivitar that has the zoom function on the outside. The paper straws let you have a sharper fall off (as the plastic straws are translucent and spill light outside the circle).
Also, folds up to stick in your pocket when changing locations and I have two in my camera bag at all times. Often travelling the world, Gina also runs photography workshops and private mentoring sessions. The new fun and compact INSTAX Mini 8 will be available in three new exciting colors – pink, blue and yellow – along with the classic white and black models.
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In order to achieve this, several people developed different techniques, such as using a shoe box, simply a tripod and a glass table, or even a tube made from toilet paper rolls. This is because colour negatives have a brown film backing, so we want to neutralize it’s colour as much as possible.
The screenshots were taken from Adobe Camera RAW but you can do pretty much everything I explain here with any other package. In Capture One I do this by going to the Exposure Tab and under Levels, and moving the lower left point to the right and the lower right point to the left. You can look at the histogram to check where each of these ends begins, and move the end points closer this image envelope, but not too close to the limits. In the end I made slight adjustments to the RGB channel to accommodate the colour changes I’ve made.
Adobe RGB (or aRGB) was supposed to cover a broader colour space but due to poor implementations, it brings some problems when printing or showing the image on the web. On a DSLR, you can change settings depending what kind of light a shot has, and we were able to produce this picture. Our DSLR can take an external flash with many settings, allowing us to control the light more precisely. The DSLR does a great job here, showing the beautiful colours and still capturing the dark buildings in the foreground. If you can’t find Nutella donuts in your neck of the woods, you can substitute with any other pastry served in a white paper bag.
You can modify the amount of fill light by how close you place the reflector in relation to your light source. I wanted to create the goldilocks effect, not too heavy, and not too light, but just right. I used a ping pong ball at the end of two empty toilet rolls and then rigged some cardboard to hold the flash. You can sign up for her free ebook on "Portrait and Post Production Essentials" and see more of her work here.
I have tried variations of these in the past and ended up developing my own film holder using laser cutted mdf (schematics for hand or laser cutting can be found on thingiverse, with instruction of how to build it). So what I do is to keep the flash at its highest strength as long as it doesn’t blow out the highlights and when it does, lower it by a stop or two, and then raise it again for the next picture. You may try several different points until you find one that more closely matches the correct colour. Notice that inside the channels, the curve is not inverted, so the darker end is on the left side and the brighter, on the right.
The flash head fits in nicely, and the centre of the toilet rolls are white, allowing it light up to the ball.
I taped it with clear tape so it reflected light more efficiently (it also made it a bit more durable), and I cut it to suit my camera. I’ve designed this because it allows me to setup and scan a whole roll very very quickly, with very high precision! So, in this example, to achieve the image on the top, I moved the left end of the blue and green channels a bit to the right and added one or two middle points in each channels to control the middle of the curve.
If you prefer more contrast or mood to your lighting, move the reflector further away from the light or don’t use one at all. The instructions below are broadly independently of which type of film holder you are using.
Just remember that because you have inverted the curves, the slides now work in the opposite way, so if you think the image is too blue, move the slider towards the temperature slider towards the blue end.
Creating Dark Blue Sky Using Polarizer Filter - Dramatic Sky On SLR cameras, the usual polarizing filter has to be screwed onto the lens.

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Comments to «Street photography dslr vs mirrorless»

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