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Ed Rodriguez

LED Technology for the Photography/Videography Professional

Ed Rodriguez
semiman
semiman
1/30/2015 9:56:26 AM
User Rank
Candle
Re: stealth photography/videography
Define IR and define full spectrum. Reflectivity is spectrum dependent so you can't replicate what happens in the visual spectrum with another one. We can do multispectral IR already ... Just depends on the spectra. Nanorods as receptors are quite wide band and can be filtered. Limits are ultimately optics and resolution wrt too. 10000 times more sensitive .... Not with our current understanding of physics. We don't know our way around Shott noise and quantum efficiency of conversion is a Gaussian process hence inherently noisy. Keep in mind a camera sensor may only have a full well of say 100000 electrons and at a reasonable shutter speed and optic size that is a reasonable size and the conversion from photons to electrons is quite high. 10000 times more sensitive would take an enormous optic.

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magneticnorth
magneticnorth
1/30/2015 8:37:27 AM
User Rank
Photon
Re: LED = mobility
While we're at it, here's the Foldio's Kickstarter page. It's a simple but very useful little thing.

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Ed Rodriguez
Ed Rodriguez
1/29/2015 3:40:02 PM
User Rank
Blogger
stealth photography/videography
Does anybody think that in the next 30-50 years , there  will a combination of IR LEDs and signal processing to create full spectrum photography /videography in the dark of night? What would the miltary pay for that capability?

Or will that come about with new sensor technology 10,000 times as sensitive as we have now?

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kdawson
kdawson
1/29/2015 2:12:29 PM
User Rank
Editor
Re: LED = mobility
I'm not a photographer and wasn't familiar with the Z-96, so went and found a link.

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magneticnorth
magneticnorth
1/29/2015 9:03:12 AM
User Rank
Photon
LED = mobility
I use an F&V Z-96 for photography and videography. I still do have fluorescent lights, but they can't match my Z-96's mobility. I also have a Foldio, which is a portable studio for photographing small items. It's lit by two led strips that are powered by a 9v battery each. I love the mobility that LED lights afford me.

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semiman
semiman
1/29/2015 2:17:18 AM
User Rank
Candle
Really?
I would like to give a great atta-boy on an article, but if this is the quality, I just can't do it. Sorry if I have to come across as negative again, but I would rather be negative and correct inaccuracies versus giving high fives for a poor effort by someone claiming expertise.


If one is going to discuss a 60,000 lumen source and talk about its use both for video and flash, calling is a "SUPER POWER" electronic flash, then perhaps one should compare it to standard technology. 60,000 lumens.

Big SLR mounted flash = 100 watt seconds, 40-50 lumens/watt, and let's say 1/500 flash sync (flash is much faster), but that is a reasonable speed, even in the studio to ensure ambient has not impact and all motion is stopped.  100 * 40 * 500 = 2 MILLION LUMENS, only 33 times that "SUPER POWER electronic flash"


- That linked article on flash photography was "sketchy" at best and the author (Ed's) interpretation of said article also inaccurate.  Xenon flash spectrum does not change with flash level. It's a single gas discharge. That is one of the big advantages of it. Even basic cameras use a very wide range of flash powers with one white balance setting. The CCT changes because of the balance between ambient and strobe. Normally the flash dominates ... there is no ambient. What they are really talking about is WYSIWIG which is better if the SPD of the light source matches the "flash" whatever it is. Electronic viewfinder can get you close, and having a flat spectrum allows the most noise free post processing, but source/scene reflectance will always be unique and not fully correctable when you only have three color sensors.

- In terms of RED EYE, the primary impactor is distance from the flash to the lens. This is why point and shoots are bad for this. The flash is very close to the lens resulting in narrow angle. SLRs with big hotshoe flash have much less red-eye. Use those 2 million lumens to bounce and the problem is gone.


I CANNOT BELIEVE YOU LINKED TO A YOUTUBE VIDEO POSTED BY SOMEONE OBVIOUSLY CLUELESS ABOUT FLASH PHOTOGRAPHY AND I EXPECT PHOTOGRAPHY IN GENERAL. How do you justify that?

The reason for the high contrast in the Xenon strobe picture had almost nothing to do with the source size. It had everything to do with the Xenon strobe being bright enough to compete with the sun. Look at the background. In the LED version, the background is much much brighter, almost blown out. At best, the LED light provided fill-flash, something most basic amateurs understand. If the Xenon flash had been set up as a fill flash the result would have been similar. Not exactly the same, but similar.


Professional photographers rarely have an issue with sharp contrast and and shadowing (but any collimated light will have shadows). That is why soft boxes, bounce flash, and umbrellas are used.

For videography, that is a different ballgame. The ability to make very large (meters on a side) light panels can make for great studio lighting. 

It's a given that fluorescent is dead, and not in 5-7 years, but likely much less due to quality of light for video/film.

For flash, there is nothing on the horizon in terms of LED tech to allow LED to cost effectively compete with Xenon strobe's enormous light output at a reasonable cost that allows effective stop-motion (required for maximized resolution).

One can argue "but cameras are getting better", but really they are starting to plateau. There is hard limit on signal/noise ratio in an electronic camera, Schott noise. SNR cannot be higher than the square-root of the electrons/pixel captured. Efficiency of light/electronics is already exceptionally good.

The best chance for LED for flash is electronic "tricks". Electronic noise reduction has improved, but best benefits are from taking multiple frames and combining, essentially over-sampling, but the gain is related to the square-root of the number of frames, so there are practical limits on the benefits as motion compensation is only so good (pixel limited) and readout noise comes into play (pixel readout rate limited).

 

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Ron Amok
Ron Amok
1/28/2015 8:07:22 AM
User Rank
Blogger
"Cool" LED lighting
Just don't wear a paper dress to the photoshoot

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Dr.LED
Dr.LED
1/28/2015 7:57:58 AM
User Rank
Luminaire
Wall Plug Power for Movie Shoots
Limited wall plug power is a big issue for many location based shoots. Have been on several where circuit breakers go out at the worst possible times.

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More Blogs from Ed Rodriguez
Some examples of what high color fidelity is and when it is needed.
Do we know what high color fidelity is and when it is needed?
Some thermal considerations for LED MR16s.
flash poll
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