16th lightGIANTS Friday night shoot. “Looners”
I have seen a few photos around the internet taken in a studio with balloons but when looking at most of them I thought they only out in 50% effort and needed to fill more space with balloons. Last year I was photographing a wedding and one of the guests had a extremely large bunch of balloons, there was a few kids that kept hiding among the balloons and every now and then you would see a hand or a head sticking out. All I could think was..... "I have to do this in the studio". So we blew up 400 black and white balloons and started to shoot.
The lighting concept was to keep the shadows and contrast that separated all the objects in the photo. When you have a lot of items the same colour in your photos you need to control the angel of the lighting so that shadows still fall where you require them. What we didn't think of was how much static was involved, it played havoc with the models hair. Next time ill be a bit more prepared.
We only used 2 different lighting set-ups. But they couldn't have been more different. The first set up was a large octo-box from directly above the models pointing down, using the balloons to reflect light back up for a bit of fill light. The second set-up was 2 strip lights set horizontally on both sides of the studio, and set down at eye level.
And finally the world famous Making of/behind the screens video
15th lightGIANTS Friday night shoot “Retro Games”
Wir wollten 2012 mit etwas anderem beginnen. Dank RetroGames e.V. konnten wir das Studio in eine kleine Spielhalle verwandeln und oben drauf hatten wir noch 3 fantastische Models. Die Idee hinter dem Shooting war eine kontrollierte Beleuchtung mit Lichtformern und Wabenfiltern damit nur die Models und Spielautomaten beleuchtet werden. Zuletzt haben wir eine Nebelmaschine und Farbfilter hinzugefügt. Hier und da haben wir noch kleine Softboxen eingesetzt wenn an manchen Stellen etwas mehr Licht benötigt wurde.
Je später es wurde, um so aufwendiger wurde auch die Beleuchtung und um ehrlich zu sein, ich kann mich nicht mehr an jedes Set-up erinnern. Zumal die Set-ups sich sehr schnell änderten. Aber das Grund-Set-up für die meisten Bilder war ein 400w Bowens Blitz mit einem großen Reflektor und einem Wabenfilter auf einem kleinen Galgenstativ als Haar-Licht, ein 400w Bowens Blitz mit einem roten Farbfilter und eine Nebelmaschine in einem alten Space Invaders Spielautomaten. Das restliche Set-up änderte sich ständig während wir uns im Studio bewegten.
Einen großen Dank an alle Teilnehmer, ganz speziell an Missy Mantis für ihre Beratung.
Und zu guter Letzt noch das weltbekannte "Making of" Video, dass ihr normalerweise nur auf der Collectors Edition DVD zu sehen bekommen würdet
Outfits: www.nakedshameclothing.com
Styling: Missy Mantis - Mantissima
Gemini 200 and 400 review
Back when we were choosing a flash system for the studio (way back in the good old days) we sat down and discussed
- What do we want?
- What do we need?
- How much can we afford?
- What experiences have we had with different equipment in different studios?
- What light modifiers are available and what do we want to use?
Between us we had used a few different rental studio with a variety of different brands so we all had a good idea of what direction we wanted to go. It was quickly clear that none of us wanted some cheap "No Name" or "made in China" flashes due to quality control and white balance issues. It was also clear that most of the "No Name" or "made in China" stuff was manufactured with a Bowens compatible bayonet (in fact we already had a lot of light formers with the Bowens bayonet). Although "Alien Bees" started off hight on the list the were soon dropped due to availability, power issues and availability of light modifiers (at the time in the EU). It was soon a clear what brand we would chose, there were only a few real quality manufacturers that made it through the selection. But only one offered real quality at an acceptable price.
Bowen 400/400 twin-head starter flash kit
The Bowens Gemini 400/400 twin-head starter flash kit is made to the same high standard as Bowens' professional equipment. It offers robust build quality, simple easy-to-use design and reliably consistent results. It can be the foundation of a growing studio system, while its portability and the versatility of optional battery power make it a good choice for outdoor location shooting. For your money you get two compact but powerful Gemini 400 flash heads, two aluminium 120-degree reflectors with umbrella mounts, two sturdy metal stands, two mains leads, a camera sync cable and two 90cm silver/white umbrellas with removable covers that can be used as either reflectors or diffusers. The kit comes in a large black holdall bag, and all included weighs approximately 12.5Kgs
We ordered 2 Bowens Gemini 400/400 twin-head starter kit giving us 4 x 400ws as a starting point. This way we could add larger and or smaller Ws flashes in the future if needed. In the last 12 month these flashes have severed our needs fantastic. The performance has not been compromised either with this petite power-house offering impressive flash-durations and recycle times. And precise light control over 5 stops of power using a single simple stepless dial which also controls the 250W proportional modelling lamp. Or you can simply press a switch for the modelling lamp and use it 100% or off . No complicated digital menu systems - 'simplicity' is the keyword here, the Gemini really is a plug-and-go system, that can suit the needs of every user from a first time studio user through to pro work.
The main problems with "No Name" or "made in China" studio flashes that I have seen so far is 2 fold.
- The Quality control leaves a lot to be desired.They pump out as many flashes as thy can as quick as they can and hope people won't return them.
- Irregular white balance. If your flashes have different colour temperatures or a large difference in the colour temperature you may end up with odd looking images or spending a long time in post production.
The Gemini range offers consistency, reliability and quality to ensure stunning results in any environment. As an optional extra there is a battery pack available that allows you to use the Gemini flash heads as a mobile unit. We dont have one yet but who knows what will happen in the future
. We recently added one 200w Gemini flash head to the collection. This add more control over our lighting set-ups and depth of field in the studio, I am hoping we can add one more in the near future.
Specifications:
| Gemini 200 | Gemini 400 | |
| Max Power (Ws | 200Ws | 400Ws |
| Guide Number (m/100 ISO) | 54 | 76 |
| Flash Duration (t=0.5) | 0.7 Seks | 1.2 Seks |
| Recycle Time (100%) | 1/1200 Sek | 1/1000 Sek |
| DialPowerRange | 5 stops, 6Ws - 200Ws | 5 stops, 12Ws - 400Ws |
| Power Control | Stepless | Stepless |
| Modelling Control | Proportional with Power | Proportional with Power |
| Modelling Modes | Full, Off, Proportional | Full, Off, Proportional |
| Digital Display | NO | NO |
| Colour Temperature (+/- 300°K) | 5600K | 5600K |
| Voltage Stabilisation | bis 1% | to 1% |
| Flash Inhibit Circuit | Yes | Yes |
| Auto Dump | Yes | Yes |
| Sync Voltage | 5V DC | 5V DC |
| Ready Indication | Ready Beep, Ready LED | Ready Beep, Ready LED |
| Bayonet | 'S'-Type | 'S'-Type |
| Operating Voltage | 190-250V 50Hz | 190-250V 50Hz |
| Travelpak Compatible | Yes | Yes |
| Built in Slave Cell | Yes | Yes |
| Switchable Slave Cell | Yes | Yes |
| EM Noise Suppression | Yes | Yes |
| Width | 170mm | 170mm |
| Length | 310mm | 310mm |
| Height | 130mm | 130mm |
| Weight | 2.1kg | 2.6kg |
| Product Description | BW3660 | BW3670 |
| Source: | ||
| http://www.bowens.de/content/pages/gemini200.html | ||
| http://www.bowens.de/content/pages/gemini400.html | ||
Conclusion
- Simple to use intuitive controls
- Five stops of power control
- Lightweight & compact
- Travelpak Battery compatible
- Auto Power-save mode
- Robust Metal Construction
- Proportional modelling control
- Recessed switches & sockets
- Huge range of Bowens and 3rd party accessories
- Fast Flash-Durations
- DSLR friendly Low Sync Voltage
| 190-250V 50Hz |
Sync Speed
Shooting with flash is a bit different to shooting with out flash. The key part of determining any flash exposure is the lens’ aperture, the camera ISO, and the power out put of your flash. The exposure happens when the flash fires and your shutter needs to be open for the duration of the flash.
The duration of the flash from electronic flash units is quite short, about 1/1000th of a second or even faster is not uncommon. The exposure is made while the shutter is open, and the flash fires. Your cameras shutter speed will be slower that the flashes there for you freeze that moment in time. In short the shutter opens, the flash fires, and the shutter closes. The amount of light that get through to your chip (or film) is determined by the power of the flash and the F/ (aperture) used. Finally the ISO settings of your camera will determine how much of that light it keeps or can use.
If you are shooting at a higher shutter speed than your camera can synchronise at you will only get part of the picture. What part is missing depends on which way the shutter travels and how much you get is determined by the shutter speed you selected. If your shutter speed is set way to fast you will only get a black frame, if your sync speed is set only slightly to fast you will get a black stripe on the side of your photo. Modern DSLR cameras have maximum synchronization speed that varies with each camera so please look at your cameras hand book to find out the maximum sync speed (or X speed)
There are several different affects you can achieve by adjusting your sync speed. Lower shutter speeds allow more of the ambient light to influence overall exposure, mostly the background (because the aperture you select determines the main subject’s exposure). Using a slow shutter speed can "open up" the background allowing more ambient light to affect the exposure and show more separation between subject and background.
But be aware that the colour temperature of any artificial lights in the ambient light. Depending on how bright they may be, using slower shutter speeds can add unwanted colour that may pollute skin tones in your shot. The solution: Increase shutter speed but not too much. On the other hand, warmer light sources can add pleasant warmth to the photographs.
A faster exposure speed will generally result in a sharper image due to less movement during the exposure. It will also isolate the subject more from any back ground as less ambient light will be captured in the exposure.


























































