I believe that all of us would connect circus with a giant tent. However, with some imagination and DIY magic you can turn even the smallest home studio into a circus. In this video from Adorama, Gavin Hoey will show you how to bring circus into your studio space, no matter how small it may be.
In the final part of this series, I am giving you my configuration for the Behringer X-Touch Mini that I’ve shown you in the previous part. Of course, everyone has different workflows and the biggest advantage of generic MIDI controllers is that you can personalize all functions. So have a look at my configuration, play around with it and then change it to your needs.
One of the biggest challenges, when trying to use a MIDI controller with Lightroom is to find a controller that works well for Lightroom. As already said in the first part of this series, MIDI controllers are optimized for sound production, not for photo editing.
So when you start you will face a chicken-egg problem: You do not know yet how well it works and which parameters can work best for editing, while you do not have a controller yet to try it out.
Editing images with Software like Lightroom typically involves changing parameters like exposure, contrast, highlights, shadows, and so on for more than 90% of your work. These parameters are controlled using sliders that you have to drag with your Mouse – sliders that emulate physical controls.
Why not use such physical controls like sliders or control dials directly? Instead of using the mouse to point to virtual controls and focus on these virtual controls, why not just use a physical control and focus on the effect on the picture while changing the values instead?
I have been looking into shooting other sports outside of the motorsport world and I have been particularly interested in soccer, basketball, and baseball. After doing some research, I found that some sports shooters covering these type of events use different remote trigger setups such as foot pedals and cable release buttons. When I setup remotes, I usually have the PocketWizard with me, and one mounted to the remote camera and I press the test button on the PocketWizard to fire the remote camera. But these guys take it a step further and use something like what I am about to show you to have complete control over your remote cameras while still having two hands on your main camera.
When photographer Daniel Shiffer was looking at overhead rigs, none of these solutions worked for him. He needed something portable that he could just throw in the back of the car and set up or break down at a moment’s notice. So, he turned to a desktop computer monitor stand.
Availability of 3D printers has opened new possibilities for creating all sorts of gadgets for photography. So, New Zealand-based photographer Nicholas Sherlock took advantage of his 3D printer to make himself an LED softbox. He designed it, printed and assembled it himself. It features a 3D-printed diffuser, honeycomb light shaper, and even rails on the bottom for adding mounts and accessories.
I’ve written about this project in the past, as I originally made the rain machine and shot with it in 2012, however we’ve now done it in video form! Hopefully it shows a little more detail about the construction and how I shot with it. I made this just for fun really, it rains enough here in the UK that you really don’t need a rain maker, but this allowed me the control of putting studio lights outside without getting electrocuted!
Photographer Giles Clement has performed some interesting experiments, such as mounting a large format camera to a drone. He also made his own 16×20 camera, and it all started as a sketch on a bar napkin. He uses his DIY camera to create stunning wet plate ambrotypes, and he shared with DIYP how he got to build this camera himself.