Some impact photos
Discussion
Polarbert said:As a suggestion, some sort of sound activated strobe, and shot in darkness, or just try pulling trigger, and fire strobe at the same time.
How the hell do you capture an image like that? I mean the timing required on the shutter must be incredible, or is it something I'm missing?I'm only an amateur so go easy on me if its obvious.
Polarbert said:To answer your question bert, you need to either have equipment or be emotionally close to your assistant. I only took a few shots with my girlfriend before we gave up due to the splatter from the impacts, but each of us could sense when the other was about to shoot, which made life a LOT easier. Try doing normal stuff, like walking the dog and watching TV with your assistant, it'll help you bond and form the necessary connection. Then when it comes time to shoot, you'll both be on the same wavelength, and your sixth sense will know precisely when to press the shutter :tongueincheek: Does that make sense, Bert?
How the hell do you capture an image like that? I mean the timing required on the shutter must be incredible, or is it something I'm missing?
I'm only an amateur so go easy on me if its obvious.
vipers said:
How the hell do you capture an image like that? I mean the timing required on the shutter must be incredible, or is it something I'm missing?I'm only an amateur so go easy on me if its obvious.
I believe it was done by sound activation, as you say.
Beyond Rational said:I managed my captures on continuous drive, 5fps, didnt try too many shots due to splatter - with a longer lens and 20 times more shots, similar results might be achieved.
How the hell do you capture an image like that? I mean the timing required on the shutter must be incredible, or is it something I'm missing?I'm only an amateur so go easy on me if its obvious.
I believe it was done by sound activation, as you say.
A sonud setup is likely to me more expensive than the "emotional closeness" trigger is silly
but that said, any idea how much a sound setup actually does cost, and can one buy them pre-made. Does it say that the images were captured via a sound trigger, anywhere?i worked with the photographer who shoots most of the catalouges for Broncolor Lighting Systems and teaches lighting on their behalf. to capture falling objects he used a infa red beam trigger and multiple lights. it was fascinating the attention to detail. also fascinating was the price of the kit used to capture those kind of shots. alot better I have to say than the linked gallery above ... which looks like it was done on pure timing.
as he was a representive of broncolor he used all their Kit.. which amounted to various pacs, every accessory under the sun.. the most stunning strip lighting I have ever seen.. and the biggest parabolic focusing thingymygig that looks like a radar dish!
in terms of lighting its a two horse race. Broncolor and Profoto.. and then second division stuff like Bowens and Elinchrom. ( which is the stuff I use! )
Bron and profoto have more constant colour temps. better recycling times, more accurate shutoff times etc.. (like T1 and T5.. which indicate falloff) and more importantly extremly durable.. and they look really cool.. at least the bron stuff does.. very funky designs (unlike mine which overheat and shut down when being worked hard. and look pants )
as a result they are the dream tool to use and probably the must have in lighting.. if you are shooting high budget campaigns.. however all this comes at a price.. and its lots.
Another photographer I worked with always said.. you only buy lighting once in your life as it will do the job required for ever.. cameras and lenses change all the time. lighting is constant. ...
however I baulked at the time and went with the other names mentioned above.. do i regret it..? sometimes.
in terms of lighting its a two horse race. Broncolor and Profoto.. and then second division stuff like Bowens and Elinchrom. ( which is the stuff I use! )
Bron and profoto have more constant colour temps. better recycling times, more accurate shutoff times etc.. (like T1 and T5.. which indicate falloff) and more importantly extremly durable.. and they look really cool.. at least the bron stuff does.. very funky designs (unlike mine which overheat and shut down when being worked hard. and look pants )
as a result they are the dream tool to use and probably the must have in lighting.. if you are shooting high budget campaigns.. however all this comes at a price.. and its lots.
Another photographer I worked with always said.. you only buy lighting once in your life as it will do the job required for ever.. cameras and lenses change all the time. lighting is constant. ...
however I baulked at the time and went with the other names mentioned above.. do i regret it..? sometimes.
bacchus180 said:I remember reading up on a well known sports photographer, who used to produce these stunning shots of the cricket ball flying over the wicket, and the bails being lifted off. (Some years ago now when it was all 35mm).
i worked with the photographer who shoots most of the catalouges for Broncolor Lighting Systems and teaches lighting on their behalf. to capture falling objects he used a infa red beam trigger and multiple lights. it was fascinating the attention to detail. also fascinating was the price of the kit used to capture those kind of shots. alot better I have to say than the linked gallery above ... which looks like it was done on pure timing.
He was asked how he got those shots, he said something like :-
"I set up my camera with a telephoto lense focused on the top of the wicket, and hold the cable release in my hand, then I either sip my tea or read a book. When someone shouts "Howzat" I press the cable release"
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