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In this installment of the Lighting with Flash series, photographer and Strobist publisher David Hobby visits a conservation center to photograph subjects small and large, demonstrating flash lighting techniques along the way. The course begins with a close-up shoot of a small frog—and with details on how to light close-ups and macros using a small softbox and a reflector made of crumpled aluminum foil. Next, David uses multiple strobes and umbrellas to transform a dark blacksmith shop into a warm backdrop for a portrait of a craftsman at work. In a bonus chapter, David discusses an approach for organizing photo meet-ups that have a purpose: leveraging the talents of multiple photographers to quickly create a set of photos for a worthy organization.
Okay, so I've just added two more stops of light and we're at 1 16th power, which is still very low, but that's giving me the ability to shoot f22. I'm getting more depth of field around the frog, but my worry will be that any dirt on the glass might start to come into focus, so that's what I'm balancing. I want as much depth of field to carry the frog, but I don't want to be seeing the, the schmutz on the glass in front of me. another thing, if you remember we went to two-hundred-and-fiftieth of a second when we first started shooting the flash pictures, that was to kill the ambient light. So, the ambient exposure, in here, was a 20th of a second at F4, at ISO 800, if I'm remembering correctly now. Right now, we're working at two-hundred-and-fiftieth of a second. Which is adding, okay, let's, let's call it a 30th of a second just for ease, a 60th, 125th, 250th.
That's killing three stops of ambient light right there, and then we're adding more light with flash. So we're probably five, six, seven stops above the ambient exposure, which means that none of this ambient matters anymore. We've got fluorescents over, it doesn't matter. We have window light coming in from the back, it doesn't matter. We're so far over that exposure, that the only the ambient is being used for is, really, eh, enough light to be able to focus. So, let's grab our, last pictures of Sticky here, who's been a champ (SOUND).
Okay, plenty of texture, I've actually got a little texture on that, on that black paper, in the back, which I really could try to get rid of, I think, by coming this way, maybe, with the light. Or, you know what, let me try something like this. I'm going to take this, I'm going to feather this light a little bit away from this black by just tucking something up, right there. So, I'm moving the light off of the black background and keeping it on the frog, see if that helps.
(SOUND) Yes, it does. So, let's include this other stick in there. (SOUND) That's better a little, a little more interesting compositionally, so I'll play with that. So little depth (SOUND) of field to work with here. (SOUND) Let's take a look. Sticky looks fantastic.
I've got a little bit of detail in that black background, but I can easily take that out in Photoshop so I'm not going to worry about that. (SOUND) I can see my foil popping in, in the bottom. It doesn't bother me. I'll crop that out. So, let's click in an exposure real quick. Everything looks fine. Last couples of frames, up close.
(SOUND) Just like with a person, I'm focusing on the near eye. If I've got that near eye in focus, really the other stuff doesn't matter nearly so much. If that near eye is out of focus, he's going to look out of focus no matter what.
(SOUND) Alright Sticky, I think you're good. One more. (SOUND) There we go.
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