Late Night Self Portrait

[kdthomas]

Decided I would mess with the soft boxes Going to bed now.



I know it's OOF.

 

[rexbobcat]

I like the toning of it. How'd you do that grading?

 

[Derrel]

"You coulda' been a contender, Rock!"

 

[kdthomas]

I like the toning of it. How'd you do that grading?

Thanks ... I used silver efex , started with the Film Noir 1 preset, then added the light sepia toning, contrast and pulled the borders and vig out

 

[kdthomas]

I like the toning of it. How'd you do that grading?

And for what it's worth I had the Speedo's set on symmetrical full power ISO 400, f/11, 1/125. Behind is a large 70" softbox about 1.5 ft behind the chair. Above me and to my right was a 48" soft box about 3-4ft from my face, pointed directly at me.

In my right hand was my fourth half-empty (half-full?) beer, Bud Light lime IIRC, and it had been 2 weeks since I had shaven, and/or talked to a woman (not sure if that last one is causation or correlation)

 

[Derrel]

If it were not for the missed focus, this would be a really good portrait of you, I think. The processing treatment is really nice too. The lighting pattern was solid.

 

[kdthomas]

If it were not for the missed focus, this would be a really good portrait of you, I think. The processing treatment is really nice too. The lighting pattern was solid.

Re: Focus ... dang it ... I know, it's driving me buggy

I may re-shoot it tonight... The main reason I was even shooting it to begin with was to get the lighting right for the Mamiya with either HP5 or Delta. I've been shooting these back-lit high-key deals for a while with only a reflector, and the negatives were really ... blecccch ... required a lot of tinkering in post ... I wanted to see if I could get it better with a front light, and see if that makes prints easier.

 

[terri]

I actually like the softness here. I dig this whole portrait exactly the way you executed it. Nice lighting, good processing, and a nice loose, tousled feel to the whole thing (including the subject).

Good job, I say.

 

[Derrel]

When you shoot with an illuminated rear background (like a softbox firing light toward the lens), firing a second light onto the subject usually gives an exposure that looks "right" without the need for much post-processing adjustment, or dodging of shadows.

Little tip on Speedotron Brown Line. Look at the three-light power output options in Asymmetrical output mode: One light firing at 200 Watt-seconds in either outlet 1 or 2; and two lights putting out 50 Watt-seconds in outlets 3 and 4. So, outputs of 200/50/50 Watt-seconds.

Or, the alternate choice, two lights each at 140 Watt-seconds in outlets 1 and 2, and the third light in outlet 3 or 4, giving off 70 Watt-seconds. So, outputs of 140/140/70 Watt-seconds.

You can put the "strong lights" of 140 and 140 on a 9-foot wide roll of gray paper aimed in at 45 degrees, and key shift that gray paper right on up to pure,glorious white background if you light the subject with the 70 Watt-second light at a normal, classical distance.

The 200 Watt-second option from one light and then two lights, each at 50 Watt-seconds gives a main and an accent light or main + hair light option that is very handy.

Brown Line 402 packs are what I use most of the time; the ratios in Asymmetrical have been carefully thought out for real-world conditions using white, gray, or black backdrops.

 

[jcdeboever]

I don't see anything wrong with being out of focus. Personally, I don't really care about it in my pictures in most cases. I think it works like it is.

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