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This has a great deal of in uence on what techniques and modi ers you ll use. For me, white walls and ceilings usually mean that I use the Lightsphere or o -camera bounce. O -colored walls and ceilings might do better with the Big Bounce, as that modi er is pointing straight at the subject rather than o walls and ceilings. Every situation
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6.9 This room was extremely dark to the eye. 430EX Speedlite, ISO 800, 35mm 1.4L lens, 1/85 second at f/2.8, with a strobe bounced o of the wall, which happened to be a nice shade of white.
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6 Working with Canon Speedlites
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at the moment, I favor the Big Bounce in most situations due to its relatively large light source as well as the fact that I m avoiding bouncing the light o of walls and ceilings that may be too tinted to produce attractive coloration.
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My favorite site for information on working with small strobes is http://strobist.blogspot. com.409497 g0610.
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Here s how the 580EX II and the ST-E2 transmitter allow you to control multiple ashes:
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Remote Triggering with Speedlites
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The Canon remote system is surprisingly robust, o ering control one would think only available with a commercial strobe system. Keep in mind, however, that all ashes must be in line of sight of each other to re, as the wireless system is based on infrared visual communication. One way of working with the ST-E2 remote transmitter, which was discussed earlier in the chapter, is with a single ash as the receiver, which allows you to hand-hold the camera with total freedom. Of course, a few bits and pieces are involved in setting up Speedlites on stands and having them perform like bigger strobes: an umbrella swivel to mount strobes on stands, a small umbrella or two, adaptors to use a Speedlite within a softbox, and so on. Once you pull some of these elements together, it s a liberating experience to create a multiunit lighting kit that can t in a small bag.
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A very good source I ve found for these small strobe accessories (stands, umbrellas, umbrella swivel adaptors) is Midwest Photo Exchange (www.mpex.com).
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1. Attach a transmitter to the 1Ds
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III. Attach either the 580EX II or the ST-E2 to the camera and turn it on.
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2. Set the channel on both the
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transmitter and strobes. You can choose from channels 1 to 4. This enables you to avoid mixed signals if other Canon wireless camera and ash systems are in use at the same location. Otherwise, the controller and slave ashes can all be set to channel 1.
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6.10 Rear view of the ST-E2 remote transmitter, showing the controls
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3. Turn on all receiving ashes and
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set them to the slave function. When communication is established, the red focus assist light blinks once per second on each receiving ash. and one to Slave B. You can then set lighting ratios form 1:1 to 8:1 wirelessly from the controller. This is useful for adjusting lighting from the camera position.
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Up to three groups of strobes can be set up when wireless control of lighting ratios is not being used.
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4. If you want to have control of
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lighting ratios from the 580EX II or ST-E2, set one ash to Slave A
In the Field with Your Canon EOS-1Ds Mark III
In This Part
7 Lighting Decisions 8 Advertising and Editorial Photography 9 Photographing People 10 Wedding and Event Photography 11 Architectural Photography 12 Landscape and Nature Photography
Lighting Decisions
any books have been written about lighting. This chapter s aim is to give just a glimpse of various lighting techniques that work well with the Canon EOS-1Ds Mark III. This chapter is targeted at two groups of photographers. One group consists of those who might have a great deal of camera experience but less lighting experience. The second group is those photographers who are coming from earlier generations of cameras where low ISO was a must to this current generation where excellent results can be achieved at lower light levels, opening up all sorts of lighting possibilities.
C H A P T E R
In This
Planning a lighting setup Available light Strobe systems Fluorescent and HMI systems Tungsten lights
Planning a Lighting Setup
No matter what the assignment, there is always a range of details to consider when planning a lighting setup. These considerations break down into two areas: rst, the capabilities and limitations of the location, talent, schedule, and equipment; and second, the look you re going for meaning the energy, feel, and emotion of the light. Here s some of what I think about when scouting locations and planning a lighting setup: