翻译爱玲珑网站

1、In photography, to create an image that has never been created before without a Hollywood-sized budget or extensive retouching in Photoshop is a rare thing indeed. Over the last few years, I have been experimenting with the Hypersync capabilities of the Elinchrom Ranger RX Speed AS pack along with t

2、he Ranger S flash head when using the PocketWizard ControlTL transceivers.在拍摄,一张相片,从来都没有好像好莱坞大片制作般有广泛的使用Photoshop图的确是一种罕见的事情。在过去的几年里，我一直使用普威ControlTL引闪器，一直在尝试与爱玲珑RX Ranger RX Speed与Ranger的闪光灯头的Hypersync能力。Ever since I first started playing with Hypersync I have dreamed of being able to overpower day

3、light and light up a surfer on a wave from a far distance. I tried it out in Tahiti with mixed results three years ago, but this year, with the help of Elinchrom and PocketWizard, I was able to pool the extensive gear needed and head out to Hawaii to give it another try. As you can see in the image

4、above, we pulled it off. As far as I know, this is the first image ever created of a surfer on a wave that was lit with strobes from 500-feet (150 m) away. To put that in perspective, the light from the strobes traveled a distance equivalent to 1.4 football fields and overpowered daylight (with the

5、help of a cloud).自从我第一次开始玩Hypersync我梦寐以求的能够压过日光，在远处照亮一个冲浪者。三年前我尝试过到了塔希提岛，结果好坏参半，但今年以来，随着爱玲珑和普威的帮助下，我能够集中所需的大量传动然后前往到夏威夷再试试看。正如你可以在上面的图片中看到，我们挺过来了。据我所知，这是以往任何时候都被照亮，从500英尺（150米）的距离闪光波创造了一个冲浪的第一张图像。为了把在视角，从闪光灯的光线行进的距离相当于1.4个足球场和过强光照（有云的帮助）。To make this experiment possible, Elinchrom graciously shipped

6、 four Ranger RX Speed AS packs, four S heads and four high performance reflectors half way around the world to the north shore of Oahu. I brought with me one extra Ranger setup, which made for a total of five Ranger packs and heads. With this setup we had 5,500 Watt/Seconds of lighting power at our

7、disposal. Additionally, PocketWizard sent four extra Power ST4 transceivers to go on top of the Ranger RX Speed AS packs so that I could trigger all five packs using Hypersync with the PocketWizard Flex TT5 transceiver.为了使这个实验可能，爱玲珑附带了4个 Ranger RX Speed 组，包含4个S 灯头和4个高性反光罩（鱿鱼桶），中途在瓦胡岛北岸。我带多了一个额外Range

8、r电箱，这对于一共有五个Ranger RX和头使用。有了这个设置，我们有照明功率为5500瓦/秒在我们的处置。此外，四个普威接收发射器，这样我可能会引发使用Hypersync与普威的Flex TT5收发器全部五个包。In my experiments shooting ice climbing and other sports with one flash head, I found that I could consistently overpower the sun from 60 to 70 feet (20m) away. In shaded conditions, as withmy

9、 latest ice climbing shoot, I was able to light up the bottom of a gorge almost 200-feet (60m) away with one Ranger pack and head. With that in mind, I imagined that I could light up a surfer on a wave at up to 500-feet (150m) away with five Ranger packs and S heads working together. It took some tr

10、ial and error, and a few extremely helpful assistants, to actually make this work.在我拍摄攀冰及其他运动的经验中只使用一个闪光灯头，我发现我可以一直从60到70英尺（20米）远压过自然光。在阴凉的环境，与我的最新攀冰拍摄，我能照亮一个峡谷的底部将近200英尺（60米）的距离与一个Ranger和灯头。有鉴于此，我以为我可以照亮一个波冲浪者在高达500英尺（150米）距离五个Ranger组和S灯头一起工作。用了一段反复试验，以及一些非常有帮助助手，真正完成这项工作。For this shoot, I hired pr

11、o surfer Tommy Ihnken, who lives on the north shore of Oahu. The waves on the day of the shoot werent exactly what we had hoped for; they were a bit unpredictable and small, but Tommy is known for catching some big air and he was keen to give it a go. We opted to shoot at Rocky Point, which is a sur

12、f break known for huge airs off medium sized waves. Along with me on this shoot were three assistants: the legendary surf photographer and my good friend, Brian Bielmann, Ben Reed and Robin Dabney. All three were indispensable on this assignment.对于这个拍摄，我聘请了职业冲浪选手汤米Ihnken，住在瓦胡岛北岸。在拍摄当天的波浪并不是我们所希望的;他们

13、有一些不可预知的，但汤米是能够的感受到空气的变化，他想试一下。我们选择了拍摄点在岩石，这是众所周知的巨大摆架子关中型波的冲浪。随着我在这拍三个助理：传奇的冲浪摄影师和我的好朋友，布莱恩Bielmann，本里德和罗宾达布尼。这三个人都是不可或缺的这个任务。As one of the top surfing photographers of the last 35-plus years, Brian told me that he had seen several photographers try to light up a surfer on a wave with strobes on th

14、e beach but they never had any luck unless they shot at night and only from about 60-feet away. Hence, with this shoot, we were being very ambitious.去过35年间最顶尖的冲浪摄影师布赖恩告诉我，他看到几个摄影师尝试照亮一个波冲浪者在海滩上闪光，但他们没有什么运气，除非他们拍摄在夜间和只有大约60英尺的距离。因此，这次拍摄我们是非常有信心。Once we got all of the gear to the beach and got set up,

15、 we had two and half-hours of daylight to work with. The surf conditions were the best they were going to be that week and we went to work setting up the Rangers and testing everything out. Tommy got in the water and we started shooting. For the first hour we got nothing of note. Not a single frame.

16、 With full sun hitting the surfer, I could see that in a few shots we were filling in the shadows but we were not actually overpowering the sun. We realized that the high performance reflectors, when used from that distance, were like lasers and that the light was going right past Tommy for many of

17、the shots because he was moving all over the place with the waves. The next step was to have two assistants direct the flash heads, moving them with the surfer, so we could make sure we were hitting the surfer with the lights. After a few tries, we got some images where we could see that the lightin

18、g was working. Now we just needed to wait for something interesting to happen.当我们把所有的器材运到沙滩安装好，白天的时候有两个半小时是冲浪的最好条件，我们将在这周开始工作测试所有器材。汤米去到海面，我们就开始拍摄。刚开始的第一个小时，我们一无所获，因为每张相片都是日光全部打在海浪上，我在拍了几张之后发现，我们只能在强日光下填补阴影，我们发现使用高性能反射罩，在远处使用时，就应该要好像镭射激光器一样跟随着汤米进行拍摄，接着在有波浪的的地方吩咐了两个助手直接拿着闪光灯头跟著冲浪者，确保我们的能把冲浪者照亮。在试了几次之

19、后，我们得到一些图片，灯光是没有问题的，我们只需要等待一些有趣的事情发生。Within a few minutes of putting two assistants on the flash heads to move them in tandem with the surfer, the sun dropped behind a thinly veiled cloud and Tommy caught a decent air, one of only three he was able to get over the course of the entire shoot. In that

20、 moment, everything came together and helped us created the shot at the top of this page. With the strobes firing at full power I only got one image per shot, and the fact that the timing was perfect for this image is a small miracle. There are so many things that had to come together to get this im

21、age. It still boggles my mind that we actually pulled it off. Brian was pretty amazed that we even got it to work, much less that we got an action shot. After we got “the” shot, I kept shooting for another hour or so. In that time we got several other shots that were fully lit but none of them measu

22、red up to the shot above.在两个助手将闪光灯头跟着海浪这几分钟，太阳落到了一片稀薄的云层中，就像Tommy抓住了空气一般，他终于挺过了整个拍摄过程。在那一刻全部刚好走到一起，让我拍摄到这个画面。随着闪光灯开着全功率的输出我只有在拍摄每一个图像，而事实上，在时间是这个完美拍摄的图像是一个小小的奇迹。有迹象表明，必须全部人聚集在一起获得这个图片这么多东西。在我的心里里它仍然很惊喜，我们实际上把它关闭。布莱恩是相当惊讶，我们甚至得到它的工作，要少得多，我们得到了一个动作镜头。之后，我们得到了“这个”的拍摄，我不停地拍摄了一个小时左右。在那个时候，我们还有其他的多次拍摄，但被完

23、全被照亮，所以没有上一个镜头拍摄的好。To capture the image I shot with a Nikon D4, a Nikkor AF-S 400mm f/2.8 telephoto lens and a 1.4X Teleconvertor. This setup resulted in a 560mm f/4 lens. The exposure for the resulting image was 1/1,250thsec at f/4 at ISO 800. Because we were shooting wide open the lens had to have

24、 exceptional autofocus and as you can see, it performed flawlessly. Gauging the distance of the surfer from the strobes was a matter of looking at the focus marker on the lens, which indicated a distance of about 500-feet. My shooting position was approximately 60 feet to the right of the strobes on

25、 the beach and basically in line with the flash heads.为了这次拍摄我是用了 Nikon D4 ，一支Nikkor AF-S 400mm f/2.8 的长焦镜头和1.4X Teleconvertor（远摄增距镜），使用增距镜后可以设置在560mm 焦段f/4 光圈 ，快门速度1/1,250 秒 f/4 光圈 ISO 800，因为我们使用长焦镜头必须有出色的自动对焦，正如你可以看到，它的表现堪称完美，在镜头上看着计算冲浪者和闪光灯的距离，在大约500英尺的距离时候进行对焦。我们拍摄位置约在沙滩上60英尺，闪光灯基本从右侧发射出光线。While

26、I dont consider this to be the best surfing image I have ever created, it is certainly different from any other surfing image I have produced and is not a bad shot by any means. As a proof of concept, it illustrates how Hypersync, when pushed to extremes, can be used with the Elinchrom Rangers to cr

27、eate images that never existed before. In fact, I dont know of any other battery-powered strobe on the market that could have created this image. The Rangers are in a class of their own when it comes to their Hypersync capabilities and overpowering daylight from far off distances.虽然我不认为这是我拍摄最好的一次冲浪形

28、象，但它是比起我自己拍摄其他冲浪形象不同的，作为证明，这次是一个特别的拍摄方式。它诠释了如何使用 Hypersync，推到最高时候，可以使用Elinchrom Rangers 来拍摄之前没有拍摄过的东西，其实我也不知道市面上其他牌子的外拍电箱能够拍摄到这个图像，但是爱玲珑Rangers已经能够使用Hypersync在远距离压过日光My thanks to Elinchrom and PocketWizard for believing in this project and for sending out the extra gear to make it happen. My thanks

29、also to Brian Bielmann, Ben Reed, and Robin Dabney for helping me on this project and especially to Ben Reed for filming the Behind the Scenes video. Without the help of these two companies and the assistants this image would not have been possible.我感谢爱玲珑和普威相信这个项目，并且给多了一套多余的装备来完成这个。我还要感谢 Brian Bielm

30、ann，Ben Reed和Robin Dabney帮助我完成这个项目，特别是Ben Reed拍摄幕后视频，如果没有这两个公司和助手帮助这次拍摄项目是不可能完成的In 2011, while ice climbing in Ouray, Colorado at the Ouray Ice Park, I met Dawn Glanc, one of the strongest female ice climbers in the world. The following year, in 2012, I set up a portfolio shoot with Dawn where I lit

31、 the ice climb she was on from above with an Elinchrom Ranger RX Speed AS battery-powered pack and the Ranger A “Action” head.在2011年，科罗拉多州的乌雷冰公园攀冰时，我见到了黎明Glanc，是世界上最强的女冰山登山者。次年，2012年，我成立了一个投资组合拍摄黎明曙光，在她爬到上面有爱玲珑RX Speed AS电池组和 Ranger A “Action” 灯头，开始触发闪灯The resulting images were very well received an

32、d I was able to license several of the images to a wide variety of high-end clients.这组相片非常受欢迎，我能够授权使用几种图像到各种高端客户That same year, I also I started playing with Hypersync flash technology. I first tried it out in Tahiti while shooting surfing. I was able to light a surfer on a wave while shooting from

33、a boat nearly 100-feet (30m) away. There were many variables on that shoot, which didnt allow me to actually get the image I wanted, but the seed was planted in my brain for future experiments. With more experimentation, and a marked improvement in the Hypersync technology, I was able to reliably ov

34、erpower daylight from 60 to 70 feet (20m) away using the Elinchrom Ranger RX Speed AS pack and the Ranger S head along with the high performance reflector。就在同一年，我也开始了我Hypersync flash闪光技术使用。我第一次尝试它在塔希提岛拍摄时冲浪。我能够在浪潮中向冲浪者使用闪光，而从船上近100英尺（30米）的距离拍摄。有上拍，这并没有让我真正得到我想要多样变化的图片，但我一直在想如何实现。随着越来越多的实验，并在Hypersyn

35、c技术帮助有了明显的改善，我能够可靠地从60到70英尺（20米）远使用爱玲珑RX Ranger Speed 和Range灯头和高性能反光罩来克服日光Having gotten Hypersync to work reliably, my mind started spinning with ideas for possible shoots. One of the first thoughts I had was to go back and shoot ice climbing with Dawn, but this time using Hypersync.Fast forward a f

36、ew years, to this January, when I had some free time for another portfolio shoot. I planned another ice climbing shoot with Dawn in the Ouray Ice Park and I was hoping to improve on my previous outing. I took with me the trusty Elinchrom Ranger RX Speed AS pack and the Ranger S head this time, along

37、 with the PocketWizard ControlTL transceivers that make Hypersync possible. After shooting with Dawn in a few different areas of the park, I set up the Ranger and a flash head on the bridge that spans the gorge above the ice climb. I set up the flash head and the high performance reflector so that i

38、t created a shaft of light on the intended ice climb. I dialed in the exposure settings by using the histogram on the back of my camera. Having tested out my settings the day before I was able to get near perfect illumination of the ice climb in the first shot. Once Dawn and her sister Kristi rappel

39、led into the gorge, it was go time. I moved around and shot from various angles above and to the side of the climb from the opposite side of the gorge. I also shot with telephoto, standard and ultra-wide angle lenses so that I had every possible variation.我们已经有了 Hypersync可靠的工作了，在我脑海里又萌生一些想法。其中第一个想法我

40、要有是去拍攀冰与与曙光，但在使用Hypersync的时候一晃数年，到了今年一月，当我有些空闲时间用于其它投资组合拍摄。我计划在乌雷冰公园攀冰与拍摄黎明，我希望改善我以前的郊游。我带着我对爱玲珑的信赖的Ranger RX Speed AS 电箱 和 Ranger S灯头使用的这段时间，连同普威ControlTL收发器，使Hypersync变成可能，黎明在公园不同的几个地区进行拍摄后，我设置了Ranger，并跨越上面爬冰峡谷大桥闪光灯头 我设置了闪灯灯头和高性能反射罩，使其灯光可以照射到所期望的冰崖上，我通过观察相机背面上的曝光柱状图设置。经测试我设置前一天在附近爬在那里拍摄第一张完美的照明，当曙

41、光和他的妹妹Kristi 攀爬入峡，在这段时间我四处移动，并从不同角度上面拍摄，在峡谷对面分别使用了长焦，标准和超广角镜头，让我尝试各种变化。For these images, I shot at around 1/1,000th second at either f/5.6 or f/5 at ISO 400 for the entire shoot. With the shaded nature of ice climbing, the Hypersync setup was reliably lighting the entire climb all the way to the bot

42、tom of the gorge 165 feet (50m) down. I shot over 230 images as Dawn made her way up the dead vertical ice climb. Because I was shooting at such a high shutter speed, this allowed me to move around much more easily and capture a greater variety of images than on my previous outing, where I had to us

43、e a tripod.这些照片，我拍摄时使用的设置为 1/1,000秒 光圈为 f/5.6 o或 f/5 ISO400 。随着攀冰的阴影产生，Hypersync设置被可靠地照亮整个攀登一路峡谷165英尺（50米）向下探底。我拍了230图像作为曙光让她在冰上一路垂直爬升。因为我是在拍摄如此高的快门速度，这让我更容易地走动，并捕获更多种类的图像比我以前的郊游，在这里我不得不使用三脚架。As a side note, I would expect the high performance reflector to be a very hard light and generally it is, b

44、ut in this instance, with the light bouncing into the ice and flying all over the place the light quality was softened quite a bit. On other shoots, where I have used the high performance reflector, I am constantly amazed at how nice the light quality generated by this metal reflector can be and esp

45、ecially how subtle the light fall off is towards the edges of the beam.作为附带说明，我希望高性能反射罩是一个非常硬光，一般情况下它都是，但在这种情况下，经过光经过了在冰上反弹光线的品质柔化了了不少。在其他拍摄，在那里我已经使用了高性能反射罩，我经常惊讶于金属情况下光线产生怎样的反射，特别是如何微妙的光线边缘的羽化衰弱。In the end, the results were stunning. I can say unequivocally that these are the best ice climbing imag

46、es I have ever created and they wouldnt exist without the Hypersync abilities of the Elinchrom Ranger. I dont think there is any other strobe on the market that has the power and the ability to overpower daylight (or in this case the open shade) as the Ranger Hypersync setup did that day. This shoot

47、 has inspired me to try applying Hypersync flash to many other hard to illuminate sports. Hypersync has opened up a whole new world in terms of what can be lit without a Hollywood movie budget. I am very excited to see how far I can take it by creating new and exciting images that have never been do

48、ne before.最后，结果是惊人的。我可以毫不含糊地说，这些都是我有过创造了最好的攀冰照片，他们不会不爱玲珑 Ranger的Hypersync能力存在。我不认为这是市场上任何其他频闪，有能力压倒日光（或在这种情况下，户外阴影）作为 Ranger Hypersync设置那天做的能力。这已经激发了我尝试运用Hypersync闪光灯来拍等诸多难以照亮的运动。 Hypersync开辟了一个全新的世界中什么都可以照亮条件 - 没有一个好莱坞电影的预算。我很高兴地看到，通过它我可以走多远过创建一个以前从未做过的新的和令人兴奋的图像。The new range of Elinchrom softboxe

49、s, the Litemotiv 120 and 190, are now starting to ship out. This gave us an opportunity to ask Swiss photographer, Anoush Abar, to let us have his feedback on his experience with these new light shappers. As a heavy professional user, Anoushshared with us his impressions his thoughtson the new Litem

50、otiv softboxes.爱玲珑柔光箱的新型号，Litemotiv120和190，现在开始出售。这给了我们一个机会向瑞士摄影师，Anoush ABAR，让我们对他的经验与这些新的光shappers他的反馈。作为一个专业的重要用户，Anoush我们他的印象他的想法，新的Litemotiv柔光箱的分享。Elinchrom: You recently had the chance to use the new Litemotiv 190: overall, what was your first impression?爱玲珑：你最近有使用新Litemotiv190的机会：总体来说，什么是你的第一

51、印象是什么？Anoush:The first thing that struck me was just how rock solid this equipment was. I heardmyself thinking how tough these boxes were! The Litemotiv take up very little room once foldedbutbecome enormous once you open them up! I mean, really enormous! Its almost intimidating at the start and you

52、 start wondering how on earth you are going to put all that together. But in the end, once youve got to grips with the assembly logic and the different color coded pieces, its both quick and easy. It really becomes so simple to set up them up that you stop thinking about it, plus you can have a real

53、 go at it without worrying about breaking anything. Its tough yet portable, the perfect compromise.Anoush：第一件事那我吃惊的是该设备是多么坚如磐石的。我听见自己思考这些箱子多么艰难都！但Litemotiv折叠后占用的空间很小，但你一旦打开他们又会变得非常巨大！我的意思是，真正巨大的！这几乎是吓人的开始，你开始想知道如何在地面展开上，你打算把所有的在一起.但最后，一旦你得到认真处理组合逻辑和不同的颜色编码部分，它是既快捷和容易。这真的变得如此简单设置它们，你停止思考，再加上你可以有一个真正的

54、去它无需担心破坏任何东西。它是又强硬又便携，完美的妥协。What can you tell us about the light from the Litemotiv?你能介绍有关Litemotiv光线？For this shoot, we needed to light up a girl who was walking down a staircase, for a fairly wide-angled shot. That meant that we needed a lot of light and my default choice could have been the Rotal

55、ux Octa 175 cm. However, the problem is that it lights a wide area: its soft, but wide, too wide.对于此拍摄，我们需要照亮了一个女孩是走楼梯，在相当宽角度拍摄。这意味着我们需要大量的光，我的默认选择本来是Rotalux八溴175厘米。然而，问题是，它照亮一个广域：它是柔软的，但宽，太宽。I really needed a soft light that I could precisely position. A stronger light, for instance a beauty dish,

56、wouldnt have worked either because I didnt want to give too much of the impression of sunlight. So my dilemma was figuring out how to combine soft lighting with a clear sense of direction, and the Litemotiv allowed me to do exactly that. 我真的需要一个柔和的光线，我可以精确定位。更强的照亮，例如beauty dish（二次反射罩），也不会任何制作，因为我不想给

57、你太多的阳光的印象。所以，我的困境是搞清楚如何柔和的灯光结合一个明确的方向感，而Litemotiv允许我这样做。The advantage is that you can install it further away from the subject because of it size while retaining all itseffectiveness. In fact, once you move it far enough back, mostsoftboxes ressemble eachanother and any light source turns into natur

58、al light. The benefit here is that shadow projection with the Litemotiv is both soft and powerful. In addition, when you remove the diffuser on the front but keep the internal diffuser in place, you can extend the shadow length.它的优点是可以从因为它的尺寸的主体，同时保留其所有效力安装它进一步远离。事实上，一旦你移动回足够久远，最柔光箱ressemble每个另一个与任何光源变成“自然光”。这里的好处是，投射阴影与Litemotiv既柔软又有力。此外，当你取下扩散器的前面，但保持内部扩散的地方，可以延长阴影长度。The atmosphere is truly unique, with a very distinctive light. How did you achieve that technically?这里的气氛是真正独特的，具有非常独特的光线。你是如何做到这一点在技术上？The idea was to shoot