Bowens 500/500 Gemini Studio Lighting Kit

This clip has shown me the content of the equipment and out lines some of the features i used in the studio, such as the controllable light power settings and i also used my lighting as one to light my shot area in conjunction with a soft box and another as a direct light source, i also found the tip about the multiple uses of the umbrella with or without the second layer showing this can be use to direct light but also absorb some if a softer light is required.

For my assignments during both themes i will use this type of lighting as, it enables me to more effectively control lighting during my shoot, and is also suited to the work i am aiming to produce, (Ref D1, D2) for work examples against my research.

Reference: Camera Information [online] Ref http://www.karlu.com/product_info.php?products_id=1133

The Bowens Gemini r monolights are a natural progression and step-up from the best-selling Esprit Gemini.

The Gemini 500r monolight retains the unique ability to be powered from AC mains in the studio or the award-winning Travelpak battery unit out on location as well as boasting a range of new features designed to offer photographers not only ultimate freedom but unmatched power, durability and control too.

Take Control.

Why should precise control be complicated?

Simplicity is the key with Gemini. Digitally accurate control is easy without a confusing digital menu! Turn one dial for stops and the other for tenths to instantly set five stops of power with precision control, the LED display confirms the power output.

Modelling control is also made simple with one switch, choose from full, proportional or off or even set the modelling lamp to any level you desire.

Freedom is your choice

These days unreliable sync cords are a distant memory for most photographers. Now you can also forget bulky radio receivers attached to your lights too! Thanks to the unique radio-card facility on the Gemini r.

By simply plugging a radio trigger card into the slot on the back, Gemini lights instantly become compatible with either the Pulsar radio trigger system or the PocketWizard® system or Litelink - the choice is yours!

Because the radio trigger card becomes an integral part of the unit it is much more reliable than an external receiver which can only be as good as it’s cord connection.

Gemini monolights can also be controlled remotely with the Bowens Gemini Remote Control which can adjust all basic features from up to 7m away.

• NEW: Twin-Dial power control system - offers flash power adjustments in exact 1-stops, or 1⁄10 th-stop adjustments.
• NEW: 7-segment LED display
• NEW: Infra-Red remote control capabilities
• NEW: ‘Plug-in’ radio trigger module facility. Modules available for Bowens Pulsar & PocketWizard radio trigger system (modules sold seperately).
• NEW: Auto Dump (flash & resistive).
• Audible & Visual ‘ready’ indications.
• Advanced Photocell.
• New: Side & Rear function display LEDs.
• Other functions include Invert Display, Lamp-Saver Mode, Flash Count.
• Mains (AC) & Battery (DC) Powered.
• Compatible with 1st & 2nd generation Travelpaks.
• Improved Styling and graphics

Studio Time - Equipment

Bowens Lighting Specifications Ref [online] http://www.karlu.com/product_info.php?products_id=11333

Coiled Cable Hazard was removed and care taken to avoid banging my head on the overhead lighting

Studio Camera

The camera i used in the studio is a Canon D5 with a 24-105mm lens, an ideal choice for my assignments however i might need to set up this camera slightly differently for my close-up theme and incorporate the use of a macro lens.

Cannon D5

The controls on the back of the Bowens light unit allows the photographer to switch the lamp on and off select beep and pulse a strobe, it was directly connected to the Canon D5 using a sync cable.

Soft Box & Controllable Lighting

Here i have added extra lighting underneath my subject

Lighting the object from underneath and two other angles helped me to understand how this lighting method can be used to create the desired effect of seamless white detailed backgrounds.

The above images were taken from my mobile phone during my last studio photography shoot, as a log of equipment used. From using this equipment i have learned how to utilize a different type of lighting. The lighting used is fully controllable. A pulse of light is also fired off in sync with the camera via a sync cable, although a radio transmitter was also available for operation without a cable.

During the initial set up of all the equipment i used careful consideration of where all cables and props and obstacles were placed to keep walking areas safe and clear, The working environment was dark during shots taken and my preparation prevented any potential hazards, such as trips falls and walking into any objects.

I identified some possible hazards, were cables that could cause a trip hazard, general check and test of all electrical equipment checking for damaged cables or power outlets, the scissor brackets that hold the overhead lighting can cause a hazard if incorrectly used, fingers could get caught up in the mechanical brackets and cable pulleys.

Some of my other studio safety considerations, included familiarizing my surroundings, hazardous chemicals in the area and implications of using electrical equipment.

Ref: Heath & Safety Act 1974 [online] http://www.legislation.gov.uk/ukpga/1974/37/part/I/crossheading/health-and-safety-regulations-and-approved-codes-of-practice

Ref: [onilne] http://www.artdes.mmu.ac.uk/resources/healthandsafety/studiosafety.php

Gray Card For Great Photo Exposures

In this example its shown how the correct distance from the objects shot has effected the level of exposure, i would question the use of the product in question as i have no first hand evidence but i will consider this in practice during my assignments.

Macro Photography - Extension Tubes Explained

Shows the macro lens equipment and how it fits together, i have also leaned from this clip, how close the photographer was able to get into the image with this modification using a manual focus and was still able to focus from as little as 2.5" inches away.

Water drop macro photography with Canon Mark 5DII and MP-E 65mm lens

This macro shot clearly shows how the fine detail is captured however, one possible drawback if the inability to also accurately focus on the surrounding area.

Macro and Close up Photography of Flowers

This clip shows macro close-up results using two types of macro lens, i think using natural lighting has provided a stronger sense of the colours in the flowers, i like the shapes detail captured in these shots.

Using similar setting and equipment i have produced the below image relative to my research within a studio setup controlled environment the below image is not in any way edited and has achieved what i set out to do, by producing a detailed macro shot and perfect white background as stated in my statement on intent.

MyStudio® Tips & Techniques for Product Photography: Glass

In this clip we can see how the use of black card can effect the outcome of a studio shot, and outlines some of the differences when and how to use ambient lighting, i used these techniques in my studio shots to enhance blacks on chrome [ref Theme 1 Studio shots]

My thoughts on this clip is that no matter how large or small the studio set-up the general principals are still the same, and experimentation and reflection lead to a better understanding of this type of work and ultimately, the desired effect.

The correct level of contrast shooting class on a white background without loosing the lines and shape of the image was also achieved.

How To Photograph Reflective Round Objects | LearnMyShot.com

Photograph a Rolex watch, product photography lighting techniques

Great example and advice in this clip, i really like the use of merging two images and pre-planning of the background shot, with considerations of how the background would react to the light, it's also nice to see the hours of perfecting studio lighting and experimentation the end result still required a little persuasion using photoshop, this fills me with hope if in future the shot i'm trying to achieve is not quite right initially, This photographers vision for the end product and its intended usage in the very beginning was very important, much like in my own work i will set out to create a similar, and highly professional level of my own work.

Relative to this research and the techniques used by the photographer, i have produced studio shots where  manipulation of light and reflections were achieved by experimentation with card and various lighting changes.

The desired result was a quality level of black which helps to show the depth on chrome, this will be selected as one of my final image for this reason.

Abstract Photography

After reflecting on the above image, and considering what is abstract art of photography and, it seems looking at something in an unusual way or delivering a message through imagery, being expressive or off the wall can be considered abstract, in the images on this clip are colourful and imaginative, with bold contrasts and lines that portray moods or expectations of what the images are. I like the level of creativity and will express my own ideas with abstract art and photography in mind.

Abstract Photography Research [Ref: online] http://photo.net/bboard/q-and-a-fetch-msg?msg_id=001QYy

Studio Photographers - My Research

Jenny Van Sommers is a photographer from Sydney Australia she has clients such as Vogue, Apple, Audi, Hermes, Nike. I am interested in her approach to still life images, and am interested in learning more about seamless white backgrounds and what effects can be produced without further editing using software where possible.

My eyes are drawn to the shoe initially as the most vivid element of this image before i question how is this balancing act possible, but i am not interested in the shoe, but the way the light hits the objects in this image, also the contrast and reflections are effects but most importantly for me the shadow.

Focal point is the red coloring and shine, good use of depth without any clear horizon the image seems to blend into the background.

I like the capture of vivid colors and the soft lighting effect that surrounds the above images as i feel this enhances the effect of the subtle shadows.

Images Ref: [Online] - http://www.jennyvansommers.com/


Jonathan Knowles is a studio photographer i have come across during my research, his work has won him awards and recognition, i feel this type of approach to still life makes his images more dramatic and impacting, i like the use of effects and advanced editing, i will apply this to my own work.



In the three images above the focal point is the diamond as you would expect, however i like the contrast between the darker parts shadows against the tonal areas of the blues that give this shot a warm ice feeling, the sense of space and high quality reflection help make the rings feel more expensive or exclusive.

Detailed lines and interesting shapes this image, the 1st thing i look at, is the silver detail in the wings.

I like the effects used to give the impression of a sharp splash that makes this vodka bottle come to life, i would like to apply this to my own work.

This image feels computer generated and less related to my work however contains a subliminal message linking the product to party time with the dancing women in the back of the fridge.

Capturing the flow and movement of a liquid in a detailed shot like this looks great, i want to know how much manipulation this image has actually took to produce and apply a similar effect to some of my work.

Great use of contrast and warm tones, some lines and shapes are almost blended into the background the bottom of the glass for example.

This is my image after using editing software to reproduce a similar effect

The dark tones and black background contrast lift the focal point into the forefront of this shot, i like the bled of texture under the boots to imply earthy rugged usage, in the background the colour of the stripes match the shoes label is this a hidden meaning to tie the shoe into the shot as a subliminal meaning.

I like the detailed reflection in this one background/backdrop helps illuminate the central object as if from behind it, also making the colour seem brighter and glossy finish add extra class.

The implied meaning of an explosive chili (hot), example of a still object being put into action, the colour relationship between red (chili) and white (background) is great, i think this is creative work and expressive, because what would this image be like if it were just a chili, it would not challenge your thought process.
Marcel Christ is a graduate from the Academy of Photography in Amsterdam in the Netherlands and has worked for clients like Sony, Samsung, Coca-cola, Nike, and many more he his know for still life work and bellow are some examples of his work.

I'm instantly drawn to the yellow in this image i think yellow and black offer a powerful contrast and are often married, the texture of the light trace looks smokey but adds to the feeling of movement intended by the artist.

This original image is a result of attempting to recreate the above research

Focal point is the red Nike tick logo as the main element of colour and being central this stands out 1st, then i start to look at the shapes of the shoe and the scale against the space around the centre object and the blend into the textured background the pillow emboss gives the impression of an established stamp.

This photograph is my own (shoe) is inspired by my research,  i have produced a similar effect combining the things i like about my research such as the background textures clean lighting and use of editing to produce a digital message, original shoe logo and features have beed removed to ensure no breach of copyright.

The patterns in this image can imply various shapes seen differently by each individual, we each could see something very different, looking at this image I'm attracted to the Central point and the colour, and expressive shapes.

The many shapes and lines in this piece contain lots of different hidden images, all these parts make an item the viewer needs to visualize.

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Assignment 207

Theme 1 - Still Life (Product Photography)

Statement of Intent - P1

My still life research show examples of how still life can be made exciting and expressive, used in marketing, adverts, communications and as forms of digital artwork.

The still life images i have selected are intended for the use of print and web applications. These images represent products available to buy and have been captured as a part of my work for its intended purpose, which is to give the viewer as much information as possible about the nature of the products shot whilst at the same time maintaining a true likeness of the item(s) and its perspective, contrast, material and shape.

Theme 2 - Close-Up (Marco Photography)

Statement of Intent - P1

The intention for my study and research of close-up shots is to essentially capture the most amount of detail possible during a close up shoot. Select the correct use of equipment and correct camera settings for the best results, i will show how close-up images can reveal texture and fine details otherwise unnoticed.

My Studio Product Photography

Studio Product Photography – Introduction

Welcome to my blog! In this article I will be discussing my studio photography work, including goals achievements successes and failures, with a log of my thoughts and reflections. I will evaluate my journey gaining the knowledge and experience to do exactly what it is I wish to achieve whist working though my course.

I currently use a Cannon EOS 300D (Digital Rebel) camera with a zoom lens EFS 18-55mm used for photography of automotive products that can sometimes be a bit tricky when trying to get the ultimate shot. Shooting chrome or other reflective objects especially, I know its not as visually exciting and dramatic as some of the amazing fashion or location work I have seen in other peoples projects, however with a clear and practical use for these types of studio images, I have and will produce getting the right results is essential.


My Camera:

I created a light box from white poster card, with a lighting arrangement that includes two lamps containing three Falconeyes bulbs in each unit 24w 5000k-55000k, The light box was made costing nothing at all as I used materials that were lying around, this has been used quite a lot in relation to my studio product photography at work, my goal using this equipment and set up, is simply to produce clear and detailed close up product shots that are clearly descriptive and instantly capture the nature and customer requirements of each individual item, some images alone can answer most related questions, e.g it the item is a specialist part the image could show how it will be fitted or adapted and include as much relevant information as possible, even the correct colour or example of material its made from can be beneficial, as its important for any potential customer to have a clear understanding of the product before they buy it.


My Light Box:

Understanding how to shoot seamless white backgrounds or backdrops with natural shadows and little or no need for further Photoshop editing or for the use of web and print applications, will be constantly saving time and money, freeing me up to focus on other aspects of my projects.

Clearly identified areas I need to improve have come from asking my self questions like how much control do I have over my lighting, do I have enough light, is this right equipment? Or correct set up for the environment

I know some of the images are good and others have grey tinged backgrounds that require editing before I can happily use them in print & web applications, Although I have played around with my cameras ISO settings and different modes to try to get the right balancing and exposure, I still feel the need to fully learn the use of the equipment in manual mode, I wonder if poor results are from my lack of this understanding do I simply need to use a light monitor or second flash and incorporate a soft light box of umbrellas to diffuse the light.


The use of my cannon camera and studio setup, or the college equipment will be more than adequate to allow myself the experimentation and exploration of camera features, lighting equipment variables, to produce studio shots and macro shots reflective of my research.


My Bad Examples:

In the above image of a nudge bar the image is not over exposed and has a clear detail however, the level of light and ISO setting, also the F-Stop could of been adjusted and experimented with here slightly to try to achieve the desired results, so i will further research the relationships between set lighting levels, F-Stop or aperture, and ISO.


Studio Time:


This evening i have spent some time in the college studio and have experimented with the use of set lighting levels, F-Stop or aperture, and ISO, shutter speed, I've noted for fine details in a studio usually a low ISO setting is used, because a setting above 200 tends to produce an undesirable black outline.


The image below is a result from my experiment with the studio equipment, in this image i set the F-Stop to its lowest possible setting to reveal some differences, whilst the ISO and other manufactured lighting conditions remain constant, My test shots have helped me to understand the scale of changes i could see when the F-Stop was dramatically adjusted however in these images there is nothing in the background to focus on, i understand the F-Stop/ Aperture needs to be correct and effects shutter speeds and depth of field.

• Test Shot 1 (F-Stop set to 4.0)

• Test Shot 2 (F-Stop set to 20.0)

• Test Shot 3 (F-Stop 6.0 and ISO 160)

F-Stop Research:-

Ref:- http://commons.wikimedia.org/wiki/File:Combined_aperture_diagram.svg

On reflection my first studio experience was a great introduction to some of the many dynamics to consider when trying to achieve the perfect shot, such as the consideration of hard light, or lighting intensity, image composition and shutter speeds vs light levels or other aspects like the shape of the subject, flash set up, also a good studio equipment overview has helped me to understand the blend of all these elements, when i experimented with the F-Stop under my manufactured studio environment i found that the lowest setting 4.0 produced an over exposed image and a under the same conditions with the F-Stop set to 20.0 i found the image too dark, also during my experiment i adjusted the ISO range from 60 to 160 and could not see much of a difference, but have yet to balance the light levels, and gain the valuable experience in understanding the blend of the many variables required in producing desirable results.