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I teach a lot of classes and during those classes one of the most common questions I get asked is "What is your favorite piece of gear in your studio?". My answer almost always is V Flats. Whether you're shooting in a natural light studio or with artificial light, V Flats are fantastic and pretty much the best tool in my studio, I use them on almost every image in the studio. 

First, what is a V Flat? 
V Flats are two 4 foot by 8 foot white/black foam boards that you can use to bounce or absorb light in the studio. They form the shape of a "V" and are generally white on one side and black on the other. Buying a V Flat through a photo studio generally costs $300+ per V Flat (plus shipping!). Today I'll show you how to build two V Flats for under $300 and only about half an hour of time. 

Why have a V Flat? 
Controlling light in the studio in basically the whole point of the the studio. Whether you want to absorb the light or bounce back more light, the V Flat is a fantastic option. 


How to Make your own!
Supplies: 
2 (or 4) sheets of foam core. ($10-$75)
White Duct Tape ($5)
Black Duct Tape ($5) 

What type of foam should I get? For years I've used 4x8 sheets of Insulation foam from the hardware store. I personally used the 1in think foam. It comes white on one side and silver on the other, you can peal the silver off and pain that side black. Done. In the images below I'm building my new V Flats and I'm using what's called 1/2 inch Gilman Infinity Foam Board. The reason I'm replacing my old V Flats is after years, the foam is finally falling apart and full of dings and dents. The advantage of the Infinity Foam Board is that it's dense foam in the center with white plastic on one side and black plastic on the other (image below). Locally I paid $75 per sheet for the foam board, you may be able to find it cheaper elsewhere but it was exactly what I was looking for and free 2 hour delivery, so I jumped on it. 



The advantage of the Infinity Board is that the plastic edges are stronger, and you can clean them and they're hold up longer than the foam board. 

To turn the 4x8 sheets into a V Flat simply takes taping them together with Duct Tape. Using white tape on the white side and and black tape on the black side. 

To make it so I can reverse the white and black easily, I left a 1/2 gap so that there is room for the 'hinge' of tape to swing both directions. 






Once you have them taped together you're ready to go! Stand them up and start shooting. 





For those local photographer, I was able to get my sheets of Infinity Board through Square One Printing and they delivered it for free within 3 hours.

**Side note: I apologize for the cheap phone images, I was on a mission to finish the V Flats, not take pretty pictures**  

If you have any questions, let me know!

Until next time,
Mike Johnson
435-764-4241

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Somebody gave me a vintage looking coke bottle a few weeks ago, and well, I don't drink coke, so today I threw some water at it! Let's look at how! 


The Shot: 






The Setup: 

It's a pretty simple set up for a shot like this! I was using a simple white backdrop and a small sheet of plexiglass under the bottle. One light above the bottle (a 24x36in softbox), a light on the backdrop and a bare speed light camera left to fill the shadows just a little bit. Thinking back on the shot, I should have grabbed my large softbox out of my trunk to give a softer light (it was cold outside!).  All the lights were on a low power setting to give a short flash duration and freeze the water droplets (1/64th to 1/16th range on the power settings should work). Below is a behind the scenes shot of the set up! Camera settings were 1/200th of a second shutter speed, ISO 100, and f/6.3 on a Canon 5D Mark III and 50mm lens. 





The Shoot: 

For the splashing shots I held the coke bottle over my fish tank and poured cups of water on it, and used a remote release to trigger my flash. Keep pouring and shooting until you get a good variety of splashes you can use in your final image. 


After you've managed to get a lot of different options of the splash it's time to get a solid shot of the bottle sitting on your plexiglass to composite with the splashing water. I used the same light set up, I just brought the softbox down lower to keep the reflection on the bottle the same, and shot a couple images and you're set! The white paper I'm holding is to keep the liquid from catching too much light off the background and keep it dark and similar looking to the images with the splashes.


The Edit: 

This is where it gets fun! To get good water droplets you'll have to shoot a least 50 images, but probably over 100 and then a solid shot of the bottle by itself. From there it's all about merging the images in Photoshop! Personally here is a how I do that:
-Import images to Lightroom
-Color correct the image I want to merge in Lightroom


-Open those images as Layers in Photoshop
-Use Layers masks to merge them and erase the areas you don't want of each image. 


Finish up with a bit of cloning and masking to finish off the image and you're set to go! 

At that point you should have a pretty solid final image!



Thanks for popping by! If you have any questions feel free to contact me!

Mike Johnson 
www.endless.photography
mike@endless.photography
435-764-4241

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What is Clamshell Lighting? 

Clamshell lighting is a simple two-light setup involving one light above the subject acting as a key light, and one light below the subject creating fill light. It's a easy set up to master and one that will work well with a variety of subjects. Clamshell lighting is most commonly used in beauty and fashion photography, as it create a very soft, smooth light with a flattering glow on your subject. 



Portrait, Beauty, Glamour, Fashion, Model, Lighting, Set up, Ideas, Inspiration, Picture, Photography, Photographer

Clamshell Set-Up:

To set up clamshell lighting you'll need two lights, and two modifiers. You can use umbrella's, softboxes, octoboxes, or beauty dishes. For the example shot today we'll have two beauty dishes, a 28in dish and a 20in dish. To set up the the lights, I would recommend putting your smaller of the two modifiers on the bottom light and the larger on the top light. We'll refer to the top light as our 'key' light and the bottom light as our 'fill' light. As the top light is our main source, or key, light source.

You'll want to make sure your fill light is subsantially lower power than your key light to keep the under glow to a minimum. This will help to open up the shadows and fill your subjects eye's with light. Also make sure your fill like 2-4 stops lower than your key light. In the example shot, our fill was 3 stops lower than our key light.

The actual power settings for your set up will vary depending on the conditions, but we were running two Einstein lights, with our key light at 1/2 power and our fill light at 1/16 power. Our camera settings were ISO 100, f/8.0 and 1/160th. Editing was performed in Adobe Lightroom and Photoshop.

You can see the diagram below to see our set up for this shot. 
Portrait, Beauty, Glamour, Fashion, Model, Lighting, Set up, Ideas, Inspiration, Picture, Photography, Photographer


Here is a behind the scenes shot of the set up, take by Vibrance by Sheree who was on set assisting for the shoot.

Portrait, Beauty, Glamour, Fashion, Model, Lighting, Set up, Ideas, Inspiration, Picture, Photography, Photographer

And another shot taken from my position between the two lights.

Portrait, Beauty, Glamour, Fashion, Model, Lighting, Set up, Ideas, Inspiration, Picture, Photography, Photographer


Final Image: 

And once again, a finished image from our shoot.

Portrait, Beauty, Glamour, Fashion, Model, Lighting, Set up, Ideas, Inspiration, Picture, Photography, Photographer

As you can see the finished image, we're getting a gorgeous glow on Christie's hair from our key light, as well as great definition on her cheek bones and very smooth flattering light. The fill light below the camera is creating a nice catch light in her eye's and opening up the shadows to ensure the light is soft and smooth across the entire image. 

TOP TIP: Bring your lights in as close as you can! The closer the light source, the softer the light will be and you'll also get much more rapid fall-off which will help to create nice soft shadows and definition on your subjects face!

If you have any questions, hit us up in comments below! 

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About Mike Johnson

Hi! Welcome to the blog! Thanks for stopping by! I'm Mike, this place is my life. I'm a photographer, film maker, drone pilot and explorer. This is a place where I try to stay up to date with current work, ideas and projects (but fall behind at times). Have a look around and feel free to contact me with any questions.

Thanks!
Mike

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