Will Thompson
Well Known Member
The Hot Rocker Babe!
EF 200MM f2.0 L IS 1/100 f2.0 ISO 400 1DsMKIII 580IIEX w/Stofen
EF 200MM f2.0 L IS 1/100 f2.0 ISO 400 1DsMKIII 580IIEX w/Stofen
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Welcome to the new site. Here's a thread about the update where you can post your feedback, ask questions or spot those nasty bugs!
Hot Rocker Babe! First shots with my new EF 200MM f2.0 L IS!!!
- Thread starter Will Thompson
- Start date
Kathy Rappaport
pro member
Purdy crispy for f/100 on a 200 mm lens.
Asher Kelman
OPF Owner/Editor-in-Chief
The Hot Rocker Babe!
EF 200MM f2.0 L IS 1/100 f2.0 ISO 400 1DsMKIII 580IIEX w/Stofen
Wll,
Why no Normal lights? That would allow you to use your largest boxes yiu have and better light. You have enough of them! Of course, the Stofen does do a better job than the flash alone, but why did you not use the Normans?
Asher
Will Thompson
Well Known Member
I think you need some sleep Kat!
Doug Kerr
Well-known member
Hi, Will,
Nice shot.
I was right - the new lens is well suited for shots of larger birds.
Was the 580EX II with the Sto-Fen Omni-Bounce (I'm assuming that is the item you meant) aimed directly at the subject?
In that situation, what does the Omni-Bounce do for you?
Best regards,
Doug
Nice shot.
I was right - the new lens is well suited for shots of larger birds.
Was the 580EX II with the Sto-Fen Omni-Bounce (I'm assuming that is the item you meant) aimed directly at the subject?
In that situation, what does the Omni-Bounce do for you?
Best regards,
Doug
Will Thompson
Well Known Member
Doug Kerr
Well-known member
Hi, Will,
But I'm only a hobbyist snapshooter, so what would I know.
Thanks.
Best regards,
Doug
I have trouble understanding by what "theoretical" process it might do that.
But I'm only a hobbyist snapshooter, so what would I know.
Thanks.
Best regards,
Doug
Asher Kelman
OPF Owner/Editor-in-Chief
Unlike the straight from the flash head light which is hard and gives harsh shadows, the use of translucent plastic spreads the light so that there are now myriads of non coherent point sources that can illuminate the subject (both directly and by bouncing off nearby surfaces) from different positions. The larger the diffuser, the more shadows get built from a variety of directions, causing softening and broadening of the gradient of transitions between fully illuminated and shadow.
That's why I try to use a cut-off milk carton or tiny light box.
Asher