#TILTSHIFT RAIN PRO#

Once you have everything more or less lined up, it’s critical for your model not to move so be sure to tell him/her to keep absolutely still! Slight body wavers means you’ll loose that perfect focus you had so carefully lined up! The lighting setups: Shot 1:

The best I’ve found for portraiture is to get as close as possible to your subjects so you don’t loose too much detail. Attempt to shoot something very very far away (think landscape) and it’ll look like your scenery is almost jumping into hyperspace. Tip#3: Distance mattersĭistance from your subject makes a huge difference when using the LensBaby kit. By setting your camera to Live View, you can zoom in to 200-300% and make sure that the eyes (or whatever you happen to be focusing on) look absolutely perfect.

Even more so when the depth of field is only a couple microns thin because you got a crazy tilt happening in your lens baby. Missing the perfect shot because your focus was slightly off is the most frustrating thing ever. Tip#2: Use LiveView to help critical focus! Having the camera stable on a tripod will ensure that you can put all your efforts and energies into getting that perfect tilt for the shot. To make sure that you get critical focus right, it is much easier to frame your subjects on a tripod and put all your energies into making sure that the lens baby effect is exactly how you want it. Here are a couple tips for anybody starting out with the LensBaby: Tip#1: Shoot on a Tripod It also meant that the model was not allowed to do very much in terms of movements making the entire shoot experience quite challenging for all parties involved (my poor model was frozen solid by the end of the shoot!) Combined with an extremely shallow depth of field and the variable effect from the spray of a watergun, this meant quite a lot of tries before getting the perfect shot. I had always considered the LensBaby more of a toy than a tool so I was quite pleasantly surprised to see that I was still able to come up with ridiculously sharp and crisp images as long as I paid very careful attention to my focus points. Once focus was nailed in, the shots turned out to be surprisingly sharp. Though this made the entire experience slightly frustrating as I am a ridiculously impatient person, the results, to me were entirely worth it. Since it was entirely manual, it forced me to slow down and make sure everything was well composed, framed, tilted and focused before I could move on. Using the LensBaby was a very interesting experience for me. The LensBaby experience… and a couple helpful tips I learned along the way

#TILTSHIFT RAIN PRO#

Luckily for me, Lensbaby had sent me a Lensbaby Composer Pro kit a couple months back including a Sweet 35 and Edge 80 lens to play with. The only solution I had was to either add more waterguns… or… use a tilt shift lens. The main problem that I predicted would be that the rain would look two dimensional since the splash wouldn’t have much depth to it. All I needed was a surface for the water to bounce off of and lo and behold, I’d have rain! (or something close enough.) People weren’t terrified about the idea of having a watergun used in studio and it wouldn’t require any special setup. They were light, portable, easy to clean up and easy to find. which mean that even if I had come up with the motivation of creating a rain rig, I wouldn’t have a proper place to deploy it.Įnter the idea to use waterguns to create rain. I don’t have a studio space and most (*cough* all) fancy places up for rent aren’t a huge fan of getting their space flooded with water…. I’ve always wanted to create a rain machine, but never quite got around to making a proper rain rig out of pure impracticality.

Tiltshift rain