Show Off Your Setup

[cjbroadbent]

I'd like to see other photographers' setup. Here's a typical setup of mine with an umbrella.
http://lh5.ggpht.com/_OR3U2BmIDuk/TNvYICMRppI/AAAAAAAAFso/_aVVTRBUeug/s800/setupBrolly.jpg

[Mark Woods]

Here's a recent shot.

[Frank Petronio]

First is photographing law books for Lawyer's Coop, early 90s

Second is a 12x18 full bleed spread for a company that makes the felt pieces that go into Copiers (Xerox being local).

I wouldn't go back to shooting this way again, it was pre-Photoshop and building complicated sets to do it all in camera without retouching is a (welcome) lost art.

[Ken Lee]

http://www.kenleegallery.com/images/forum/IMG_0332a.jpg

Amateur Setup: Kodak 2D, a window, two chairs, and a piece of black fabric.
There is an electric candlestick in the window, because the photo was made during winter holiday season.

[William McEwen]

Audrey Hepburn being photographed by Bob Fraker, 1953. Photo by Bob Willoughby. From Taschen's book of Bob Willoughby photographs of Audrey Hepburn.

[jb7]

wow, that's complicated-

this old one isn't...

http://img155.imageshack.us/img155/3339/simplemacrosetupjb72346lq3.jpg

[Mark Woods]

I forgot to mention that I used a Speedotron quad head (9600) and 3 power packs to fire it to light the flower.

[Thom Bennett]

Photographing canes for a catalog last year. MFDB (Leaf) on a Sinar P2.

Mark, is that 11x14?

[Mark Woods]

Hello Thom,

I didn't think anyone would notice. ;-) The flower is slightly larger than life size. I'm looking at a contact print right now. Chamoinx 11x14 with a 270 mm F/9 Computar lens.

[Thom Bennett]

Mark, Oh I noticed! I'm in the process of refurb'ing an 11x14 Century #1. Hope to have it up and shooting next year. I can't wait to see an 11x14 contact print. I'll bet the flower is stunning.

[BarryS]

A few from my studio.

http://img837.imageshack.us/img837/8340/centuryshooting2.jpg

http://img26.imageshack.us/img26/5381/studio1a.jpg

http://img580.imageshack.us/img580/6906/studio2.jpg

[Frank Petronio]

Barry, WTF are you shooting a teddy bear on some wrinkled tule for? eBay?

[Jay DeFehr]

What a fantastic, and timely thread! I'm just beginning to learn about studio lighting, and these setups are very interesting to me. It would be even better if you would post the image made with the setup along with the photo of the setup itself. Thank you all!

[Shen45]

The concept of this thread is great however I for one would love to see the final shot. Thanks to those who have posted. I particularly like the "G" clamp/ball head table top tripod that Christopher uses.
Thanks guys wonderful "behind the scenes

[BarryS]

Heheh. I gave a wet plate workshop for two women last weekend and one of them brought in the bear to shoot--something from her childhood. I'd bet at least even money she could take you in a fair fight--don't let the bear deceive you. Me? I shoot primate skulls--wanna model for me? :D

http://img688.imageshack.us/img688/7853/skullsc.jpg

[Frank Petronio]

Oh thanks goodness, teddy bear togs are a scary lot.

[cjbroadbent]

Once apon a time I had a NorthLight. Now I use an umbrella. Still, only one souce.
http://lh5.ggpht.com/_OR3U2BmIDuk/TN0gTNArGkI/AAAAAAAAFvo/jQSw55NpapQ/s800/Studio.jpg

[Brian K]

This thread makes me miss my old studio days, although my set up was a bit more industrial strength. Someday I'll start shooting studio again but not for clients.

I also like Chris's use of a c clamp to hold his camera but I also see that it has certain drawbacks, i.e positional flexibility, and wonder why? Is there a vibration issue with the floors and there's a need to place both the subject and camera on the same platform to synchronize the vibration? I've done that when work in extremely high magnification but don't see the need for it with a regular table top shot.

[cjbroadbent]

C-clamp: otherwise I can't get the filmholder in or out without shifting the camera. It's just a portable tabletop setup for kitchens.

[Gudmundur Ingolfsson]

Christopher, is that a 4" Round shot on the table or a 70 mm one ? What a fantastic studio and the beautiful italian cabinet in the left corner.

[cjbroadbent]

The Seitz 220 film version which takes PCNikkor shift lenses (to get rid of the foreground you hope - but it still needs a ladder). Some PIA. I built a 5x7 fixed-focus-shifted-lens box and dumped the Seitz.

[Frank Petronio]

It's a beautiful studio and its being in Italy makes me even more envious. One of the things I've admired about your work is that while you obviously have the resources to own tons of gadgetry, it seems as though you've developed a very refined, minimalistic approach. Although you still have too many nice cameras ;-)

I look forward to you revealing more over time.

[cjbroadbent]

I...Although you still have too many nice cameras
...
Well, the economy being what it is, I'm down to an M9 and a pair of Gandolfis - plus an umbrella and Cleopatra's 1960 (Mole-Richardson) window-light. The rest is going going gone.
Whatever, the best stuff is always done with one camera, one lens and one light-source.

[PViapiano]

Once apon a time I had a NorthLight. Now I use an umbrella. Still, only one souce.
http://lh5.ggpht.com/_OR3U2BmIDuk/TN0gTNArGkI/AAAAAAAAFvo/jQSw55NpapQ/s800/Studio.jpg

What a beautiful room!

[Chris Strobel]

Here is my setup, handy for fixin snacks waitin for the light :)

http://www.pbase.com/cloudswimmer/image/115544956/original.jpg

http://farm4.static.flickr.com/3358/3599705618_826a2484a8_z.jpg

[Mark Sawyer]

My "studio", this afternoon...

http://i55.photobucket.com/albums/g139/Owen21k/studio.jpg

[Mark Woods]

Thom, it's pretty sweet. Every small hair on the petals are crisp, and the textures are great. I think you'll really enjoy the images you make with the 11x14. The only "downside" is you can't make an enlargement -- unless you have an 11x14 enlarger. I only have an 8x10. ;-)

[Keith Tapscott.]

I'd like to see other photographers' setup. Here's a typical setup of mine with an umbrella.Christopher, do you use a reflector as a fill or just let the light gradually fall away further from the light-source?

[Keith Tapscott.]

I'd like to see other photographers' setup. Here's a typical setup of mine with an umbrella.
http://lh5.ggpht.com/_OR3U2BmIDuk/TNvYICMRppI/AAAAAAAAFso/_aVVTRBUeug/s800/setupBrolly.jpg
I forgot to ask "is that a continuous light-source, or a flash?"

[cjbroadbent]

Christopher, do you use a reflector as a fill or just let the light gradually fall away further from the light-source?
Keith, I try to get away without fill (so not to have a secondary source in contradiction). But I do feather off the source on the nearside, either with the edge of the brolly or with a flag close in. If there is need for fill, then I hang a sheet at the rear-end of the studio (on the camera axis, thus shadowless) and bounce some weak cold light off it (4 stops under).
Thats just any old halogen lamp - a Hedler with a fan. Could just as well be a flash head.
Bytheway I was mistaken about the Seitz RoundShot - thats the old 70mm version.

[Keith Tapscott.]

Keith, I try to get away without fill (so not to have a secondary source in contradiction). But I do feather off the source on the nearside, either with the edge of the brolly or with a flag close in. If there is need for fill, then I hang a sheet at the rear-end of the studio (on the camera axis, thus shadowless) and bounce some weak cold light off it (4 stops under).
Thats just any old halogen lamp - a Hedler with a fan. Could just as well be a flash head.
Bytheway I was mistaken about the Seitz RoundShot - thats the old 70mm version.Thanks for sharing Chris. There might be something here that would be suitable for home still-life photography. Any suggestions? :)
http://prostudio360.com/home.php

[cjbroadbent]

Thanks for sharing Chris. There might be something here that would be suitable for home still-life photography. Any suggestions? :)
http://prostudio360.com/home.php

Keith, "If I'm posting here, I can't be much good" (Woody Allen). So take this lightly.
Paint yourself a background which feathers over from darkish to lightish and clamp it on the end of the kitchen table.
Stop futzing around with lights and just put an umbrella high at arms length to the left - or set yourself up with a window next to your left shoulder.
Place stuff in front of the camera so that the dark parts stand out against the light parts. Use a shortish lens.
Whatever; get a soft fat pencil and first learn to draw a box, a ball and a stick together, with shading.

From the brightest brightest spark of all time - Leonardo Da Vinci..
Trattato_Della_Pittura Chap. CLXXXVI. (course work for an academy that was never built)
"How high the Light should he in drawing from Nature.

To paint well from Nature, your window should
be to the North, that the lights may not vary. If
it be to the South, you must have paper blinds,
that the sun, in going round, may not alter the
shadows. The situation of the light should be
such as to produce upon the ground a shadow
from your model as long as that is high….
…..the nature of back-grounds, upon which any opake
body is to be placed. In order to detach it pro-
perly, you should place the light part of such opake
body against the dark part of the back-ground, and
the dark parts on a light ground;* as in the …."

Read it here:
http://www.archive.org/stream/davincionpainting00leon/davincionpainting00leon_djvu.txt
Or here in italian:
http://www.liberliber.it/biblioteca/l/leonardo/trattato_della_pittura/html/index.htm

[Keith Tapscott.]

Keith, "If I'm posting here, I can't be much good" (Woody Allen). So take this lightly.
Paint yourself a background which feathers over from darkish to lightish and clamp it on the end of the kitchen table.
Stop futzing around with lights and just put an umbrella high at arms length to the left - or set yourself up with a window next to your left shoulder.
Place stuff in front of the camera so that the dark parts stand out against the light parts. Use a shortish lens.
Whatever; get a soft fat pencil and first learn to draw a box, a ball and a stick together, with shading.

From the brightest brightest spark of all time - Leonardo Da Vinci..
Trattato_Della_Pittura Chap. CLXXXVI. (course work for an academy that was never built)
"How high the Light should he in drawing from Nature.

To paint well from Nature, your window should
be to the North, that the lights may not vary. If
it be to the South, you must have paper blinds,
that the sun, in going round, may not alter the
shadows. The situation of the light should be
such as to produce upon the ground a shadow
from your model as long as that is high….
…..the nature of back-grounds, upon which any opake
body is to be placed. In order to detach it pro-
perly, you should place the light part of such opake
body against the dark part of the back-ground, and
the dark parts on a light ground;* as in the …."

Read it here:
http://www.archive.org/stream/davincionpainting00leon/davincionpainting00leon_djvu.txt
Or here in italian:
http://www.liberliber.it/biblioteca/l/leonardo/trattato_della_pittura/html/index.htmThanks again. I have an old Courtenay silver/white reversible umbrella, but I was looking for a suitable continuous studio light.
Perhaps one which is balanced to daylight, hence the link. I'm not sure what to buy.

[cjbroadbent]

... I was looking for a suitable continuous studio light.
Perhaps one which is balanced to daylight....
Look at any cine/movie light that takes a quartz/tungsten bulb. If it has a fan it will last longer. Forget the far-from-perfect dichroic filters for daylight - Daylight colour film behaves badly with time exposures. Be wary of mono flash heads - unless you shoot wide open. Use the white side of the umbrella.
This thing (http://www.zmphoto.it/forum/viewtopic.php?t=27404&sid=b8074de5753755c9d553b7f3c8092b14), which holds brolly and lamp is one of the most useful and un-fussy tools.

[philipmorg]

http://philipmorgan.net/miscphotos/NormaStillLifeSetup.jpg

My Sinar Norma set up to photograph still life. The softbox to the right of the camera is a homemade unit with two Interfit 150w fluorescent lamps (http://www.bhphotovideo.com/c/product/556002-REG/Photoflex_FV_SLCFL150KT_StarLite_CoolStar_150_Fluorescent.html). The light theoretically produces the output of a 1200 watt tungsten unit with much less heat!

Not shown is the Sinar reflex finder, which makes composing pictures much easier.

[William Whitaker]

...Be wary of mono flash heads - unless you shoot wide open...

What does that mean? I was hoping for some Alien Bees in my future.

[Mark Woods]

I use Speedotrons and have for years. Reliable and powerful.

[Frank Petronio]

I think Christopher means that with a lighting set up like his, where the head is into an umbrella and throwing a rather large spill, it uses up a lot of light.

A 400-800 watt monolight might give you f/5.6 or f/8 if you stuck in place of his hot light. For stopping down and getting into the f/16-22 range you'd want a more powerful light, like a big 4800-watt Speedo or a more efficient 2000-watt Dynalite (sticking my subtle bias in there!)

The big Alien Bee would probably be fine and for still life you can always do a T-exposure and give it multiple pops, 2 for a stop, 4x for two stops, 8x for three, etc. remember your binary math.

But don't sweat it. Most people do it that way because the focus on the wrong plane and they stop down too much to cover their ass. If you know what you want to focus on then just do that and shoot it wide open.

[John Bowen]

Any body else notice the beer bottle in post #3?

[Shen45]

To Christopher: Do you have an opinion on using a soft box relatively close to the setup but following the left hand positioning you suggest? The quality of light would be different but would you consider it lacked modelling of the set up? I used a Broncolour Hazylight for a lot of still life work but the light may have had too great a flattening affect because it tended to wrap around the objects so much.

I don't shoot studio style still life anymore but your explanation of your set ups has been very inspiring.

[cjbroadbent]

Will, Frank is right: the mono heads, which seem so nice for tiny formats, are just too weak for more than the occasional shot in Large Format. There is no leeway for stopping down when you need to focus on the things in real life that are never on one plane.
Each extra stop requires twice as much light and twice as much money. A 5k w/s strobe head in an umbrella is about right for 8x10. The Northlight in my setup has 15k w/s (sold it after eight years, couldn't stand the mess of cables). So hot lights are a lot nicer, only one cable and extra stops are free.
Steve, a large softbox up very close has a wonderful feel in the shadows because the closest part of the box gives much more light than the far corners (inverse square law at work). The gradual penumbra is like that from soft hazy sunlight and has modelling. Can't do that with an umbrella.
I'm always afraid of teaching your grandmothers to suck eggs but I don't really fuss much with lights. I do fuss a lot with taking light away with flags, scrims, gobbos and whatnot to get some mood. There are ony two basic setups I use: A source at arms length off the the left for mood (see here (http://picasaweb.google.com/cjbroadbent/Halfplate#), mostly LF), or a source above and behind for natural looking table-top (see here (http://picasaweb.google.com/cjbroadbent/Food#), warning, small format).

[William Whitaker]

Thanks. Light remains, ironically, a deep dark mystery to me. I think it all just boils down to money.

[cjbroadbent]

Thanks. Light remains, ironically, a deep dark mystery to me. I think it all just boils down to money.
The best light is in your back-yard. But tungsten lamp and a brolly cost less than a back-yard.

[Frank Petronio]

Unlike most food photography, Christopher's pictures actually made me hungry!

[bobwysiwyg]

Unlike most food photography, Christopher's pictures actually made me hungry!

No kidding! I've learned to view Christopher's work after eating a meal. Hopefully, it will keep added inches from accumulating around my waist. :)

[Sirius Glass]

Any body else notice the beer bottle in post #3?

I didn't notice it, but I will drink to it.

Steve