This week we have taken it a step further. Same Canon 1-Ds Mark III and same 24-105mm lens, but we revamped the lighting. We had a total of 4 Canon Speedlights 580EX II. One on the camera set to master mode (not firing). The key was set to +0 power with a sepia colored Rosco gel, mounted on a regular light stand shot through 36"x18" grid of glass block (plastic block works just as well and is half the price). The fill light was set -2 power, our top light, shot into the side wall of the FourSquare. We used 2 diffusion screens to cut as well as soften the light. We use a black card clamped to a C-stand to feather the fill light, creating a graduation of light. The spot highlight comes from our last speedlight set to -1 power with an improvised snoot made from a shop vac attachment. A Rosco sepia gel covering half the "snoot" right down the middle. We wanted a touch of light spilling out from both sides of the gel.
Thursday, September 17, 2009
This week we have taken it a step further. Same Canon 1-Ds Mark III and same 24-105mm lens, but we revamped the lighting. We had a total of 4 Canon Speedlights 580EX II. One on the camera set to master mode (not firing). The key was set to +0 power with a sepia colored Rosco gel, mounted on a regular light stand shot through 36"x18" grid of glass block (plastic block works just as well and is half the price). The fill light was set -2 power, our top light, shot into the side wall of the FourSquare. We used 2 diffusion screens to cut as well as soften the light. We use a black card clamped to a C-stand to feather the fill light, creating a graduation of light. The spot highlight comes from our last speedlight set to -1 power with an improvised snoot made from a shop vac attachment. A Rosco sepia gel covering half the "snoot" right down the middle. We wanted a touch of light spilling out from both sides of the gel.
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