Adjusting the new studio design.
Dec 12, 2019 21:26:07 #
Timmers
Loc: San Antonio Texas.
The studio design is the translucent walls and lights from behind the diffusion walls. There are additional lights in front. The 1930's Photogenic indirect 'beauty dish like' 1K light fitted with a 500 watt long cylinder lamp with mogo base (Chines made tungsten lamp). Mounted to the base of the stand holding the Photogenic is a 42 inch Larson soft box with a 250 watt modeling light, this is playing as what would be called a 'kicker' light for the lower area of the set. Another 250 watt modeling light to the left also in a Larson 42 inch Soft Box as a fill light to the set.
I hope this can be seen, there is a bluish glow hovering on the black background paper surrounding the large mirror. It is the reflection from the cyan blue gel behind the diffusion plastic wall. This is what I hope shows because it is in the original image. To me this is extremely important part of a color image. You may want to note, 9 foot background paper has a matt finish on one side (inside surface) and a shiny finish on the opposite side of the paper. It appears weird but this is an aspect to the paper making process, the matt side is created when the paper is 'bladed' to remove excess moisture, while the shiny side is not bladed but allowed to dry with out blading the excess moisture. Yea, I know, too much knowledge but I did take paper making as part of learning print making in my MFA education, so I notice these things and make decisions accordingly.
The Sony Mirrorless digital body with Leica 28mm R f2.8 lens set to f 11 or f 16. at elevated ISO to deliver about 1/200 second shutter speed.
Post process is critical. I use the program of Photoshop 7 in the section called "CURVES" to keep the characteristic curve anchored for upper and mid range with a severe opening up of the blacks. The scene's dynamic range is too extreme so I use the altering of the characteristic curve to 'compress' the 'range' of the density spread for the total image.
Also, please note the nosey Mom Kitty at floor level, she really liked the subject Ms. Kat!
I hope this can be seen, there is a bluish glow hovering on the black background paper surrounding the large mirror. It is the reflection from the cyan blue gel behind the diffusion plastic wall. This is what I hope shows because it is in the original image. To me this is extremely important part of a color image. You may want to note, 9 foot background paper has a matt finish on one side (inside surface) and a shiny finish on the opposite side of the paper. It appears weird but this is an aspect to the paper making process, the matt side is created when the paper is 'bladed' to remove excess moisture, while the shiny side is not bladed but allowed to dry with out blading the excess moisture. Yea, I know, too much knowledge but I did take paper making as part of learning print making in my MFA education, so I notice these things and make decisions accordingly.
The Sony Mirrorless digital body with Leica 28mm R f2.8 lens set to f 11 or f 16. at elevated ISO to deliver about 1/200 second shutter speed.
Post process is critical. I use the program of Photoshop 7 in the section called "CURVES" to keep the characteristic curve anchored for upper and mid range with a severe opening up of the blacks. The scene's dynamic range is too extreme so I use the altering of the characteristic curve to 'compress' the 'range' of the density spread for the total image.
Also, please note the nosey Mom Kitty at floor level, she really liked the subject Ms. Kat!
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