Past Workshops

 

Speedlite Flashes              110416

In this workshop, we looked at how to use Youngnuo Speedlite flashes and multiple flash syncs.

We positioned the set of three Speedlights and did some initial test shots to get a feel of the quality of light. We experimented with gels on flash and decided to go with purple and orange gels to add more contrast.

We positioned the flash with orange gel and white umbrella at one side and directly at her, and the other flash with purple gel on the other side as fill light, to bounce light off the poly board. A third Speedlight with another umbrella was added in the middle, to mimic the beauty dish effect. The light outputs were 1/8,1/4, and 1/8.

We then adjusted the light output and reposition the speed lights again, this time, the orange flash behind our subject. This was to achieve a rim light feel on the subject’s hair. with the last bit of time, I brought out my wide angle lens and kaleidoscope mirrors, just to see the effects.

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All in all, it was a fun session. I thought we could have a longer time exploring the Speedlight flashes. As I am familiar with the cannon Speedlight system, Youngnuo system was relatively easy. Speedlights are extremely mobile and versatile in situations, especially in event photography. Its quality of light, when used correctly, is actually on par with the studio lights that we have learnt earlier on.

For the rest of the contact sheets for this session, click here.

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Replicating daylight will Ranger kit                               (070316)

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The task for today’s workshop was to try replicate daylight source using the ranger kit. We started by measuring the correct exposure for ambience light, with Kirstie being the subject and Nikki recording the exposure settings. Then we went on with one point lighting setup by exploring with bouncing and diffusing the light source. We kept asking ourselves what we could adjust to improve the shoot and most of our decisions have been justified through our critical thinking process.

Kirstie, even though was the model, had given constructive suggestions on the placement of the light sources. We got what we felt the closest replication to the ambience light, and continued exploring with two-light setup, and bouncing the light off the ceiling. Niki had been extremely particular in recording the details of the shoot, constantly reminding us to check the camera exposure settings.

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Canon 5D Mark III
Ambient light – F/2.0 ISO-100 1/60th – 8990
F/2.8 ISO-100 1/30TH – 8992
Went back to 1/60th for 8996

Ranger kit – 2.5 – Bouncing from polyboards. Only using one light.
F/3.2 ISO-100 1/60TH – 9002

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Ranger down to 2 – using two lights and diffusing
F/4.0 ISO – 100 1/25TH – 9012
F/5.6 ISO – 100 1/25TH – 9017

Right light bouncing off the ceiling. Left light being diffused.
F/5.6 ISO-100 1/200th – 9021

Bouncing Ranger kit back of boards – 9024 onwards. Same settings as before.
Bouncing light off the ceiling – 9031. Same settings as before.

All in all pretty much straight forward process. The team was cohesive and all we need to do was to apply steps methodically and experiment what setup works and what not.

For the rest of the contact sheets for this session, click here.

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Studio Lighting with ambience Light                               (290116)

In this workshop, the challenge was to mix studio lighting with ambience light. We were brought to another room to simulate the environment. The first thing we did was to measure the correct exposure for ambience light. we moved some furniture to improve the visuals. next we explored one light and experimented with its position and direction until we got the desired result. We eventually assessed that lighting up the ceiling with one light source was the better result.

Ambience: 1/30s, F2.8, iso 400, 68mm.
Flash light: 1/50s, F2.8. iso 400, 40mm
Ranger kit output:
F2.0-2.5

We went on to introduce a second light source and got the desired result.

Ambience: 1/50s, F2.8. iso 400, 32mm
Dual Flash light:1/50s, F2.8. iso 400, 32mm
Ranger kit output: F2.5

for the rest of the contact sheet for this shoot session, click here.

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Still Life: Lighting with Connotations                               (250116)

In this session we explore how lighting affects the subjects, thus giving it connotations. Using the theme “ethereal”, my team started lighting the apple on the lighting table.

We first experimented with two light sources; one from below and one behind. then we looked for composition. after reviewing the we tried to reduce the shadows using whiteboards and reflective cards. However, the only problem was the apple stalk. We then experimented painting with light on the apple stalk, using slower shutter speed. This gave us a surprising result.

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Using the remaining time we had for the session, we incorporated the blue color gels on to the light sources and added the light painting technique on the apple stalk. We managed to achieve an ethereal feel and were satisfied with the result.

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To see our workshop contact sheet, click here.

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Photoshop                                (110116)

In this session, we learnt about a few basic photoshop techniques: Adjustment layers, creating gifs., making actions.

After that, we discussed with the workshop lecturer about the editing process of our works. Overall It was a breeze.

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Lighting with Gels                                 (040116)

In this session, we learn about the studio lighting with colour gels. there are Colour Temperature Blue (CTB) for blue gels, and Color Temperature Orange (CTO) for orange gels. As I seldom utilise colour gels in the studio shoot, hence this was a great exploring experience for me.

with me as the subject model, my group explored the use of gels in high-key and low-key lighting, how it affects the background and the subject. we discussed  what could be done to improve the effect, and take away elements where necessary. Though it was a short session, we pretty much enjoyed it.

In my earlier portraiture works, I struggle with the limited blue background space, and there were no green backdrops in the studio. Through this session, particularly the blue background effect, it opened up a whole new possibility for me, in informing my portraiture works. This lighting method is especially evident in my portraiture in  the first set.

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Moving Image – Multi-Camera               (141215)

For this session, we learnt about a more complex video recording technique, about multi-camera setups and the process of multi-camera edits, in addition  with the audio sync from the Tascam D100 Audio Recorder.

The use of multi-camera was pretty straight forward and easy, but the process of editing was new for me. I seldom use this multi-cam in my videos, but overall it was a good learning experience.

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Moving Image – Storyboarding for “NUA Promo”   (231115)

The workshop task was to produce a promo video of our NUA photography.  My group first brainstorm some ideas and plan out a storyboard before heading out to shoot.

We decided to have our character to walk into the building from outside.  as per normal, we did our equipment check and calibrate our cameras before the shoot.

Along the way, we learnt about focus pulling technique, a method using some markings on the masking tapes. I am familiar with a different way to go about doing it, which was to use rubber bands as an alternative to the masking tape.

Moving Image – video shoot   (301115)

For this session, we were introduced to the audio recording device, Tascam DR100 Audio RecorderThinking of the content to shoot, we decided to do an interview-style recording, such that it ties in nicely with our earlier promo video sequences.

we set up the lighting using HMI lights and did a few rehearse. it was an enjoyable process.

Moving Image – Audio Equipment/Editing           (071215)

For the third session in the series, we went back to the digital darkroom to do a proper editing. Personally, I am proficient in video editing, I did as much as I could to make a better cut out of it.

All in all, I have refreshed myself about making videos. Although it was somewhat elementary for me, I really enjoyed the sessions as I have also learnt a few tips and tricks.

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Still Life 3 – Light according to descriptive word            (091115)

 

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Still Life 2 – Variety of objects                   (021115)

In this workshop, we learnt about lighting hard glossy objects. My group choose a small shiny  vase with texture designs, and a bottle of perfume.

we started off by setting up a black background with a reflective base. Next we introduced a one point light set up and did a couple of test shots. Our group liked the Rembrandt lighting setup, that the highlights accentuate the part of the reflective vase. Softbox lighting was used to light the vase.

Next we explored further by experimenting with white board bounce cards, and small aluminium reflective cards just to see if the effects worked. We discovered different placement of the cards could vastly affect the result of the image. The more light and reflection we introduced, the worst outcome the vase became.

After exhausting our ideas, we concluded that the earlier one point lighting was still better, and moved on to try a new object.

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For the perfume we wanted to achieve two things: first to have a long sleek highlight at both sides of the bottle. Second, to highlight the brand of the perfume. We started off as how we did with the earlier vase and played with the light reflections with the reflective cards. we change the softbox to two long strip softboxes.

We managed to get the first challenge done but unfortunately, ran out of time to complete the second.

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All in all, I learnt that lighting shiny objects are actually quite difficult. but with a step by step method of lighting, starting with a single light source, we can go expand further as to how we want the end result to be like. I think that with adequate planning and making right decisions on which equipment to use helped. To see our workshop contact sheet, click here.

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Still Life 1 – Hard glossy objects                (261015)

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Portraits (flash) – base on L/ SL              (191015)

 

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Balancing Ambient Flash – Ranger Kits      (121015)

Learnt a new equipment today, about the Elinchrom Lighting Ranger kit and how to set up the equipment. This piece of lighting equipment is a strobe light, with its own batteries.

I am impressed by its versatility in outdoor situations but i am also aware of its heaviness. I could use this to set up a mini studio in my room, definitely worth a consideration for my photography assignment projects.

 

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Shooting Video              (280915)

In this workshop, we brought out the DSLR camera out for a video shoot. we had to to calibrate the camera settings suitable for video recording. after a short discussion in the group, in the short timeframe we  manage to shoot an establishing scene, two scenes for continuity editing, and a close up of falling grass.

Prior to video recording, it is extremely important to check the camera equipment and calibrate it beforehand. I would usually put normal frame rate to 25 fps. Depending on the storyboard and the desired outcome; a slow motion sequence would require a faster frame rate, say 50 fps.

Editing Video (Premiere pro)              (051015)

Editing video was easy for me. Just playing around with editing and other random stuff without any audio. However me being a CS6 user, there were some new features in the CC edition which were new to me. I had fun learning  some of these new functions.

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HMI Lighting                    (210915)

On my first workshop session in the Uni, we learnt about the basics of setting up HMI lighting. HMI means Hydrargyrum medium-arc iodide.

HMI lights are high-quality and correspondingly expensive. They are popular with film and television production companies but their price puts them out of reach of those with modest budgets. Hence, we have to be extremely careful when setting up.

In addition, HMI lights tend to give a bright, intense daylight, we could put on some diffuse papers to soften the light, or direct the light direction away. This was the first time I learnt about the “quality of light”.

Basically to determine the quality of light, we have to see the difference in the subject’s shadows as the light source get nearer or further.

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