Originally posted by Erictator Bruce, You are doing some really cool stuff with the Lensbaby! But I was a little shocked to see you letting go of not only the Samyang 85mm but also the DFA100WR so soon! (I really really liked the output you were getting from the Samyang!)
But, I know how you feel about lenses getting stuck on the K-1... I've had that exact same problem with the DFA150-450mm... and I too have a new (to me) FA77mm Limited sitting there waiting for the DFA to come off the K-1. LOL! But, I understand and sort of expect I too will be deciding on weather to keep the macro or the FA77 in the long term, once I get to play with the legendary Limited and compare the practicality of owning both. I do a lot of macro... and not a lot of head and shoulder portraits, but, I think the FA77 might have a spot in my bag still. We'll see.
Eric
A little break from the flutterby's (don't worry, there's more! I hope they don't become as annoying as squirrels... )
So how about some moorhens and chicks?
HD PENTAX-D FA 150-450mm F4.5-5.6ED DC AW ƒ/8.0 450.0 mm 1/500 iso800
HD PENTAX-D FA 150-450mm F4.5-5.6ED DC AW ƒ/8.0 450.0 mm 1/500 iso1000
And a cloud looking through the palms for wtlwdwgn,
HD PENTAX-D FA 150-450mm F4.5-5.6ED DC AW ƒ/7.1 150.0 mm 1/800 iso100
The price of the FA77 demands the sales! Well... i don't really see the point of holding onto the Sammy when its FL is so close to the FA77, truth be told I will prolly end up replacing it with the Samyang 135/2 (when funds recuperate!).
The DFA100 again not seeing much action due to the Macro ability of the HD DA 35/2.8 Macro, and again I have a head and shoulder shooter with the FA77. The only component I'm missing from the DFA 100 is the Weather Resistance, but I've pretty much decided to get the 28-105 for that (a more versatile lens for those events that turn wet!).
Originally posted by sbh Thanks. The trick is to get the subject in the air and not place it down.
It's a two LED light setup with softboxes. One is the background and one is angled from the upper left (see the reflection on the top of the screw). The table is just a white surface which reflects on the bottom of the screw. Scrims between the softbox and the subject control the hardness of the light by adjusting the distance and angle.
In Live View I turn up the background light just until the blinkies start indicating over-exposure. That's where it turns to pure white without giving flare. Adjust the top light to taste until it looks good in brightness. That's basically all.
For focus stacking I tethered to IT2 and DCU because I'm lazy. Start at the closest focussing point and then, in IT2, hit the focussing button 30 times between each shot to move the focus forward.
I merged them in Affinity Photo. I let the app align the shots automatically (focus breathing makes the subject shrink when moving focus). Masking the focus areas wasn't hard since it is a simple shape. In complex shots the app can do it automatically but that didn't work here. Maybe not enough texture.
Excellent BTS explanation. I used Affinity a few times but I get the jist as I use PS. And I like how the thingys are suspended, I never thought of doing that. I don't know what a IT2 and DCU are, but I see the wire leaving the K-1 so I get it's some kinda controller or summin, will google it. Neat!
So do you do many product placement shots for work? I ask because it appears to be a sector where you can get quite a bit of work in around here...