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05-14-2015, 12:41 PM   #16
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QuoteOriginally posted by derekkite Quote

This is the best I've read, brief and clear, thanks!
Strobist: Lighting 101: Balancing Flash and Ambient, Pt 1

05-19-2015, 03:39 AM - 1 Like   #17
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I was lucky to find a torso at a garage sale cheap (one of those things people buy for the car to ride the high-occupancy toll lanes for free - illegally).
It has hair and glossy eyes, so it is a step up from a wig head. If you can find something like that, it is a huge help for practicing with light positioning.

Wig heads are a great second choice, and can be found cheap. It helps if they have facial features and not a flat surface.
Higher price ones even have a face painted on. Not that it maters much, unless you can find some with glossy eyes. That is nice to get realistic idea of catch-lights.
05-19-2015, 04:27 AM   #18
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QuoteOriginally posted by calsan Quote
It's not easy!
It is certainly not.
05-19-2015, 02:57 PM - 1 Like   #19
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The one thing I found to be the most helpful when I was learning how to balance manual flash and ambient light was a flash/incident light meter.


Yes, it can be expensive but takes all the trial and error / guessing out of the equation. Granted, I was learning back when I was still shooting film so I had to wait a while to see the results, but a meter gives you a much better idea of settings and more control over your results.

05-19-2015, 10:46 PM   #20
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QuoteOriginally posted by OldPentaxFan Quote
The one thing I found to be the most helpful when I was learning how to balance manual flash and ambient light was a flash/incident light meter.


Yes, it can be expensive but takes all the trial and error / guessing out of the equation. Granted, I was learning back when I was still shooting film so I had to wait a while to see the results, but a meter gives you a much better idea of settings and more control over your results.
I've got a low-end Sekonic, OPF, and it's good. Once you take a reading, you can now move out and about, change angles, etc, and you now know what the exposure should be.
05-19-2015, 10:48 PM   #21
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QuoteOriginally posted by amoringello Quote
I was lucky to find a torso at a garage sale cheap (one of those things people buy for the car to ride the high-occupancy toll lanes for free - illegally).
It has hair and glossy eyes, so it is a step up from a wig head. If you can find something like that, it is a huge help for practicing with light positioning.

Wig heads are a great second choice, and can be found cheap. It helps if they have facial features and not a flat surface.
Higher price ones even have a face painted on. Not that it maters much, unless you can find some with glossy eyes. That is nice to get realistic idea of catch-lights.
That video tutorials guy Phil Steele has a doll under his bed for that purpose.

No, not *that* purpose.

His daughter urged he do something because she was sick of modelling for his experiments.

Last edited by clackers; 05-20-2015 at 01:01 PM.
05-20-2015, 06:04 AM   #22
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I practice on my kid's stuff animals and my super hero statue collection. Basically, you can photograph anything and compare the result with what you see with your own eyes. Do the shadows look right? Did you bounce the flash off the right surface? Is your white balance OK? Etc. It's ok to go snap-happy and experiment with digital. You already paid for every shot you will ever take with a digital camera. So, roll up that shutter count!
05-20-2015, 06:23 AM   #23
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Harsh shadows are tough, I'd like to do more investigation into diffusers, myself. Bounce is good to reduce burn but still the shadows are not so simple.

05-20-2015, 12:46 PM   #24
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QuoteOriginally posted by clackers Quote
That video tutorials guy Phil Steele has a doll under his bed for that purpose.

No, not *that* purpose.

His daughter urged he do something because she was sick of modelling for hims experiments.
I have also used a doll for "modeling" purposes. The doll does not complain and its finish (china bisque) reflects light in a manner similar to skin.



Steve
05-20-2015, 06:09 PM   #25
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Yep, the Little Mermaid with 85mm Sigma f1.4 and bounce from the ceiling:





vs the shadow pattern of bounce from the side wall:



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