More practice from another excellent tutorial from Nikolaus Schatz. This is easily the cleanest 3D model I ever made. It stands up to very close inspection.
I found an excellent tutorial on YouTube for this one.
I have always loved the look of these things. I’ve been tempted on more than one occasion to purchase a Nixie tube clock, but really nice ones can be a bit extravagant. Despite the high cost, they are still very much in demand.
If you are a Nixie tube aficionado, you will love this amazing video of the exacting art of making Nixie Tubes.
The “boof” was a huge hit again at this year’s Gala, held at the amazing Blackhawk Auto Museum, who claims to have the World’s Best Car Collection. Having seen the collection, it’s hard to argue with that.
I made a couple of small changes to my photo booth this time. I used a somewhat smaller rig on a single C-stand and added a little music, which made the gear more manageable, and loosened up participants even more. (It may also help to explain the huge popularity of the microphone props.) This year’s Gala featured a rockin’ 50’s theme. As you can see, everyone who stepped into the booth had a blast.
If you’d like to see the 400+ more shots from Saturday night’s event, head on over to http://photos.xenophontrc.org!
I’ve decided that the white background is my favorite for business head shots. This is mainly because they are so easy to produce consistently, but also because a pure white background is so versatile.
To create these, I use a simple two-light setup. First I place a 7-foot umbrella with diffuser behind the subject and, paying close attention to the camera histogram, set the flash so that the light from the umbrella is just slightly blown out. I place a smaller umbrella up and to the right of the subject – as close as possible. (I place it so close that it’s often visible in the shots, but that’s OK, it’s easy to remove it.) I find a willing assistant to hold a white or silver 5-in-1 reflector down and to the left. (A bit lower for the girls.) I shoot handheld, and very fast. Being so close to the subject, the flash units are on very low settings, so they recycle in a fraction of a second. I also use a smaller aperture (f8-f10) on the amazing 56mm Fuji lens. I do not want a shallow depth-of-focus in these shots. I want a clean, easy-to-mask image. If it’s even slightly soft at the back, this is much harder to do.
Post-processing is minimal. Often a simple tweak on the highlight setting in Lightroom turns the background to pure white. After a little cropping I can export an image with a pure white or even transparent background. Perfect!