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Owen Lloyd
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Get a glass ball too!

I got mine from an "antique" shop (more 20th century junk tbh) for £6

Probably the last pictures to come out of the current attic studio before we move, these balls were already on the shooting table so I thought I'd a do a quick shoot with them before dismantling the platform.

I gave em a clean with some glossy surface cleaner and a lint-free cloth and then just lit them with a cheap LED torch that produces a very blue light. The cheap torches all have nasty LEDs in them with heavy colour cast - this is the difference between a £10 torch and a £50 one from the likes of EagTac, Klarus, Fenix and Nitecore. Worked out nicely here though.

4 second exposure at f/10 ISO 64 gave me time to start off with the torch on full flood to light the background, and then zoom it to a spot and hold it on the ball.

Black acrylic base provides a nice clean reflection.
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Get a prism!

They're like £4 - you should all have one :)

I was testing a Sigma macro ring light for someone to see if it worked (it's a Nikon only thing and they shoot Canon and wanted to sell the light). It's really two separate bar shaped flash tubes but does a pretty good impression of a ring flash. Thought I'd see what the prism looked like surrounded by a ring of light. Not bad :)

I'm just holding the ring flash out over the prism by hand: putting these things on the lens where they're designed to go makes really flat awful images tbh - they're not like a fashion ring flash that's big enough to surround a person: it's more like a slightly better version of direct flash.
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Classic Cheshire 'Sun and Twigs' sunset ten minutes ago. Will miss this view when we move house. Lazy landscape - from my desk :-/ (I did open the window though...)
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Scarlot Rose lit solely by the soft window light at Atlas Studios, Bolton. An enormous old cotton mill with original timber and slate floors and big windows.

Shoot organised by Chris Conway

Model: Scarlot Rose
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They don't advertise for killers in the newspaper
Well, not often anyway. Another pose, same light setup. Love this old building.

BTCR Photo Crew and Caspar Braithwaite
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Into the Night
Same 650 Watt tungsten spot used behind our actor here: only my position has changed. For this shot, I'm on top of a 6 foot platform with the camera on a tripod roughly at eye level.

It's on a tripod so I could shoot the same scene exactly with and without Joe, who is in the shot holding up an SB900 on a pole with a snoot attached, to splash a tiny bit of light on Caspar's face.

I didn't want the shadows this cast on the building, or to see the light and Joe in the shot, and so I painted in the shot without Joe to erase the stray light from the flash, and the flash itself, the pole and Joe from the shot.

These sort of shots really need a lot of help to make them happen. Iain arranged the platform, Joe held the light, and Brian was watching the hot-light: don't ever leave these big tungsten lights unattended.
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It had been a long night..
Another one from our little sojourn into the noir.

One 650 Watt tungsten spot from behind with barn doors. Vertical doors holding back spill on the pillars. Plus fog.

Rick Silhouette: Caspar Braithwaite

Assisted by: The BTCR Photo Crew - Iain Nicol, Brian Sanger, Bill Hartley and Joe Foster.
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Caspar Braithwaite, in the Library, with the Handgun.

We had a lot of fun tonight recreating some film-noir styles and themes. Caspar did a blinding job as our beat-up gum-shoe.

3 speed-lights at work, the key light in an actual metal snoot with grid, the hair light has the Flashbender XL Pro kit rolled up into another snoot, and the background is lit by a third speed-light, with an Interfit Strobies grid on it. Grids and snoots are the order of the day for re-creating film-nor lighting - limiting the spread of the light, as the shadows are essential to the look (this makes camera club judges' heads explode - there are whole areas that are just black).

With the BTCR photo crew: Bill Hartley, Joe Foster, Brian Slanger and Iain Nicol.
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*Cellophane"
Softbox at the back facing camera as a background - close, to give a lot of backwash, creating the highlights on the jawline and neck. Key light is a standard reflector with grid overhead. Reflector panel underneath to fill in the shadows a little.


Model: Volkova
Assistant: Mandy Shaw
Studio: Pathway Studios, Chester


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Promo work for Stacey Lynn Crowe - Actor and singer. Check out her second single 'She ain't a woman' out now on iTunes!
https://itunes.apple.com/…/she-aint-a-woman-si…/id1200313159
Model: Stacey Lynn Crowe
Assistant: John Gannon
Studio: Studio de Lumiere
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