**this will be continuously updated with new photo/photos every week so please at least check back weekly*** Well ive been asked to open up a thread about my work a couple of times now, and since the most common question i hear is "what was your setup/how did you shoot that?" I figured ill mix the 2 and post some work and how i shot it. Somr people are so extremely secretive about such things, and frankly i dont get it. Ill go so far as to tell you what i paid for setup and where to get it. First things first: you can do it. A lot of people that ask me shy away halfway through the explanation. Maybe you think the setup is too expensive... its not ( it can be, but these days there are options ). Maybe you think you dont have the technical understanding for it, and that maybe true, but sometimes you need to shoot it now and understand it later. Point is, try it out, fail miserably if you have to, dust it off and retry. Without further ado, hered the first entry of the week: A little info first, this is from an aerial dance company called Vertika Do Ar and theyve been a client of mine for about 3 years now. An hour of pure calestenics is nothing compared to 5 minutes on that thing. Camera wise this was shot with the a7 and the minolta 80-200 f2.8 HS and the LAEA4. Settings were ISO 200 F11 1/80 at 110mm If all you have is a 50mm then all you have is a 50 so use that, but personally i like to shoot people at the longest FL possible, so 110mm was the longest i could do with the space i had. Ideally i would have wanted to be at 135. The reason is that long focal lenghts tend to compress the background/foreground plus it flattens peoples features. F9-F11 is my prefered studio aperture, theres no point shooting at f1.4 when theres no background to play with. So you might as well get as much as you can into focus. Plus you have more keepers with a moving subject. The shutter isnt all that important in cases like this, since the burst from the flash ends up being the actual shutter. Still, the shutter slightly more open does capture some micro highlights, so if the subject isnt moving all over the place you can risk it. The trick here is that with the flashes turned off you get a completely dark or ar least almost completely dark exposure. I used 3 lights: 1.The main light was a 600 watt monolight (289$ amazon) on a 24x36 soft box at 1/2 power. Canera right 45 degrees in front of him 2. A yougnuo 5 series III bounced on the wall (usually bounced on a diffuser but there was a big white wall, 80$ flash, 25$ diffuser) at 1/4 power camera left straight parallel to him 3. Another yongnuo on the floor pointing at mainly the background (vinyl background, 90$ and 45$ for the stand). At 1/2 power. On the ground pointing at him at an angle, but behind him so it hits the background more. Set up like that light hits the subject like this: Sorry for the crappy diagram, ill do one better next time. I usually go with 4 lights in studios but in this one we wanted more drama (shadows) so the 4th head on light was scrapped. Believe me that one extra light makes a ton of difference. Here is one from two years ago with 4 lights, same as above but dialed down (with the floor one having an orange filter) and one head on as the main light Ill stop here as i feel i might be boring a few so...feel free to ask me questions or comment and remember to check back often for more!!