lighting – How to make an illuminated body landscape with minimal equipment?

Things to consider about your picture:

  • The light comes from above and very easily in front of the subject. I bet if you drew a line straight up from his mouth you would hit the light.
  • Seems to be a single light source. The shadows don't seem to be filled in, which indicates that a fill flash or reflector was used
  • Shadows are defined but still have blurry edges, indicating that a small light source was used, but not necessarily a point source. Maybe a little lightbox was used
  • The light almost seems to overexpose the edge of the head and falls off at the knees (assuming the drop is in the camera and not in the mail). I would imagine that the light source is about a meter above the subject.

I would suggest that you shot similarly to this one. If your lamp base is not big enough, you can creatively attach the lamp to the ceiling. The light should be directed straight down and positioned directly in front of you.

You don't mention what camera and lens you have, so I'm assuming a new DSLR and a kit lens (18-55mm). Switch your camera to manual mode and choose f / 5.6 for the aperture (the lenses sharpen a few steps down from the maximum aperture). You have to play with ISO and shutter speed to see what works …

30W is unfortunately not that bright. On the sales page for your lamps you can see how they light a sock from a foot or so away. This is what these lights are designed for: illuminating something small and fairly close … small objects, headshot portraits, etc.

Place an object approximately where your shoulders would be in the frame, read a reading through the camera, and set the shutter speed after setting ISO to 3200. For example, if a speed of 1/500 is good – then we know that we can reduce your ISO. The shutter speed should be in the range of 1/15 to 1/60 or faster, using the lowest ISO you can get. Note that you want to use your camera's Mirror Lock Up function in this area.

Because of the low light intensity, you may have to compromise by using a wider aperture at the expense of sharpness. I won't know until you measure!

I would remove the lightbox for this shot and see how it turns out. If your shadows are more defined than your goal, you need to dim the light (use the softbox). The limitation here is that your softbox can do the lighting also soft … this would mean that you need a smaller box or want to try some homemade light softening solutions.

Due to the low light output, it may not be possible to adequately illuminate the head, shoulders, trunk and legs. If it gets worse, you can always lower the light and make separate exposures for the head, trunk and legs and then fuse them together. It would be nice to do everything at once, of course, but if you lack the equipment, give it up again in the post ;-).

Should I somehow isolate myself as I have white walls so that the light is not reflected?

Yes. Your studio should be dark enough so that the camera only records the light that you want it to be shot from the direction it should come from. Most studios use dark / black painted walls, ceilings and floors for the very reason you describe: white walls reflect the light. You can avoid this by using a very large and open space or by wrapping yourself with dark fabric (think of a human light box).

Architecture – How does the cloud-managed network equipment work?

There are cloud-managed devices on the market such as switches / routers / firewalls / etc. On these devices, you only have a few configuration options on the device itself and manage the configuration via a web-based portal that is accessed via the Internet. The administration interface is hosted by the manufacturer of the device. Every configuration change made in the management panel is magically applied to the devices.

So my question is how it really works under the hood? Are the devices constantly connected to the cloud application and waiting for changes? Are you constantly searching the cloud for new configurations? Given the number of devices, the administration systems must be massive.

Equipment recommendation – Canon EOS 550D vs. Canon EOS Rebel XSi for bird photography and / or underwater surfing photography

I'm curious to see which camera body I should invest the money in to deal with the subjects of photography that I like best.

I used to have a 550D. It's a reasonable camera if you already have one, or if that's all you can afford, but I wouldn't recommend buying or putting money into an older model like the 450D.

Both cameras use the same EF / EF-S lenses. So if you choose Canon cameras, you can use any lens you buy with Canon cameras or future crop sensor DSLRs. You can also use EF lenses with adapters for Canon mirrorless cameras.

I really want to get into bird photography and buy various long lenses. (recs on long lenses?)

Start with a telephoto zoom. Some options to consider.

  • EF-S 50-250 / 4-5.6 IS II / STM / USM / ETC. I used an IS II variant. The look is good, but the construction is cheap. Even the bracket is made of plastic. If it had a metal bracket, I would recommend it without limitation, but with the plastic bracket, I suggest considering other options if they are within your budget.

  • EF 70-200 / 2.8 L IS II / III USM is considered one of the best devices for image quality and has put together teleconverters to increase the range. Price and weight are high.

  • EF 70-300 / 4-5.6 IS II USM (consumer level lens). This is the second lens Canon released with "Nano USM". With relatively good lighting, the focus is much slower than with conventional USM. Occasionally there is also hunting and the focus is missed. Images are very good when it focuses on nails.

  • EF 70-300 / 4.5-5.6 DO IS USM is undervalued and currently costs less than the EF 70-300 / 4-5.6 IS II USM at the consumer level. The DO lens is handier and more powerful than the consumer lens, but slower at the short end and softer at the long end. It is smaller and lighter than comparable lenses.

  • EF 70-300 / 4-5.6 L IS USM is also undervalued as it doesn't work as well as the 70-200 / 2.8. It's more powerful than the consumer version, but weighs and costs more.

I would also like to do underwater surf photography and buy an underwater unit. (Notes on underwater surf accommodation units?)

Consider buying a waterproof compact camera.

I'm not brave enough to damage or lose an expensive camera and lens in the ocean. Underwater housings are often expensive and camera-specific. There are cheaper underwater bags, but they seem to be better suited for protection against the weather than for reliable use under water.

Equipment recommendation – things to look for in a camera to match the image quality of the camera phone

I have a 10 year old entry-level DSLR camera. I am considering switching to a new camera, but I am interested in what kind of things are suitable for achieving the image quality of my latest phone camera.

I mean that with my question. I understand that the camera sensor is larger and should therefore provide a higher quality image (e.g. less noise, etc.), but my relatively new phone often offers higher quality images in low light and scenes with high contrast (apparently with a kind of "Instant HDR" that my camera needs a tripod to try at all, and still with poor results. I can often only "show and take pictures" and get a great picture while myself With many manual settings on the DSLR – assuming the moment is not over – I often get photos that look inferior. I like to have full control when I need them (and even to be able to shoot sequences in.) some sort of scripting language if possible) but I find that I often do this only to bypass camera problems, for example it's not uncommon that I overexpose 2 or 3 apertures when shooting objects such as airplanes or birds in the sky so that they are not underexposed.

Then why don't I just use my cell phone? I do this in many cases when things are informal, when I don't need a lot of control, and when I don't need a safe ergonomic design that I can shoot over long periods of time without worrying about dropping and breaking something. No phone can really have the DSLR's range and take a decent picture. At the moment I can only take portraits in the camera (and that works very well), time-lapse animations, everything that requires zoom or telephoto, and large panoramas (with approximate gigapixels).

I don't know how many of my age difference issues (e.g. 1 year old phone versus 10 year old DSLR is a 9 year window in which technology has improved) and what I should look for now , since I took refuge, haven't really kept up with the new camera technology since I bought my current camera.

I really only identified one hard criterion – every new camera I get doesn't have an "optical low pass filter" because I've never been satisfied with the natural sharpness of the pictures I take. Another criterion is that I want GPS coordinates to be recorded automatically, although with some new models this will only work if you pair your phone with your camera, which is fine with me. I also had various sharpness problems (lost a lot of pictures because the camera decided to go in focus when I tried to press the shutter button with the target already focused) or cases where for some reason it didn't work either to determine the sharpness to low contrast or not to find out which moving object to focus on.

I know that new phones have a lot of sophisticated software to improve their image quality – for example, the Pixel Line has a "night vision" mode that combines multiple shots, sensors and some kind of AI algorithm to get phenomenal results to achieve images with very little discernible blur (at least in my experience!) Some phone cameras also have an internal burst mode, which takes a whole series of images in full resolution in succession and then selects the best that is displayed by default. I don't know how much camera software (or firmware / image processors) has evolved to keep up.

From what I've read, a mirrorless camera appears to be superior in some ways and allows it to approximate some of the good points of a camera phone while providing a better sensor and lens system. With a mirrorless camera, I often have to shoot through the lens. For example, when I take panoramas with a telephoto lens, I rely on the markings in the lens to align the next shot, which may be more difficult on an LCD screen. Over time, I could take photos with the camera all day. Often these are not possible unless I take pictures without the screen switched on to extend the battery life.

I'm not sure I have given enough details for specific brand / model recommendations (although I can add my current brand / model / lens recommendations), but generalizations or comparisons would be welcome if they illustrate the trade-offs between different ones Brands and models even exist that have classes of cameras. For example, is there a sweet spot where I should pay a little more for a medium-weight camera to get a particular feature and where I would just waste my money?

Edit: According to the comment, my current setup is a Nikon D5100 with a Nikon 35mm f / 1.8 prime lens and a Tamron 18-270mm f3.5-6.3 VC macro zoom lens. (It is clear to me that the latter is considered by some to be pretty crappy, but it fits my budget for the focal lengths I aim for. In the future, I would prefer a somewhat higher quality in the range of 150 mm to 600 mm.) Because the majority my shootout is at the top of my current range and I would like to go further in some situations.)

Equipment recommendation – light bulb diffuser for on the go?

I found the thread for the diffuser for flash units here, but I wanted to look at the available options for flashes without bulbs, especially for the Godox AD360ii.

I will travel to Vietnam for 3 weeks in December 2016 – January 2017 and plan to hike from north to south by motorcycle / bus / train. I would love to see what options are available for portable configurations, but I would be willing to sacrifice extra weight if the diffuser is much better. I will also have a Nano Manfrotto light tripod attached to the side of the backpack.

This looks really promising from the last thread, and I think I can do a little jimmy rig to let the bare bulb fit in this bracket.

The quality of the light is very important to me, so ideally I want to produce as soft a light as possible.

In case you asked why bare lightbulb against flashes: I want the output to overpower the sun and simplify the HSS functions (I hate fiddling with ND filters, especially for travel). Currently my solution would be the Westcott folding umbrella, but I would love something with a little more efficiency. A collapsible beauty dish also looks promising, but wasn't sure if there were much better solutions.

Some uses for flash are editorial portraits in remote areas that I can reach by bike. For my main trips I use a 40 liter bag equivalent or the Thule Covert.

Was not sure if this was necessary, but for reference I bring the Sony A7RII, 24-70L II, 50L, 16-35L II, Ricoh GR.

I would be very happy to receive recommendations or insights from other experienced travel photographers. Thank you very much. (And yes, I'm aware that my backpack will be the majority of the camera gear. Portrait and landscape work will be a priority here too.)

Equipment recommendation – How do you illuminate an outdoor night portrait with a cityscape background?

If you haven't already done so, use slow sync. Then you can use the flash to illuminate the people in the foreground and at the same time properly illuminate the cityscape in the background. You need a tripod (or an equivalent method to keep the camera steady). This way you also have the luxury of choosing a low ISO.

The uncomfortable shadows under the nose and eyebrows are generally the result of a direct (non-reflected) flash.

If you only have the camera's built-in flash, there's not much you can do about it except try to move farther and crop / zoom instead. However, since you have a flash, if you can rotate it, you may be able to rotate it and bounce it off a white clipboard or something else. If you reflect the flash, it doesn't always have to be reflected from a wall, but you can also reflect it from a smaller object. Even if you bounce it off a white business card, it's a little softer than direct flash (probably better than a diffuser that you might be paying good money for). For example, try bouncing it off the pages of a book or newspaper – as long as it's mostly black and white, it should be good. Try jumping to the side instead of jumping up to get a more flattering angle to the shadows.

It sounds like you are probably not interested in more complex flash units such as multiple flashes or flash units outside the camera, as this was only an occasional trip with friends and you have to carry the stuff around with you. A completely different world of things to look into could get!

dnd 5e – Selection of equipment options when creating characters

You did it right. You get all the equipment list, except There you will be asked to select either one or the other using the list style (a), (b), (c). You don't have to "bring it together" onand bYou can choose whatever from each line.

For the druid, this means that you get all three lines of equipment that give you armor, a pack and a focus, and two choices: (Shield or simple weapon) and (Scimitar or simple melee weapon). Your bow is a legitimate choice for "simple weapons" of the former and the scimitar is also a legitimate choice of the latter.

The choices in each line should not be linked, as this would be the case directly linked together without using a letter as a secret code. Instead of being written as they are, they would be written as a single bullet in the list as follows:

  • (on) A scimitar and a wooden sign or (B) a simple melee weapon and a simple weapon
  • Leather armor, pack and focus

(I am not copying the last line directly, as this is not necessary for the example.)

You can see this in action using the example of "Building Bruenor". Bruenor is a fighter with the background of a folk hero, and on page 15 of the PHB, Bruenor's player chooses "a battle ax and two hand axes". These are two "mixed" options from the selection of the fighter on page 72: The two hand axes are a (B) Choice from the third line, and the battle ax is a (on) Selection from the second line.

Also note how the directly linked spelling described above is used for many of the Fighter's options on this page, so (e.g.) taking a single weapon of war also requires taking a shield.

So you did it right. Correct your DM carefully. Point to Bruenor's choices on page 15 and the choices of the Fighers on page 72 and how they don't follow "all" (on) or all (B)"Rule. The alternative is just too restrictive when creating PCs and doesn't even make sense for other classes that don't have letters that all match.

This is due to your DM, but you should consider being flexible.

The reason why you need to take the starter kit of equipment with you is to start playing quickly. While the option to dice gold and buy equipment to start with is meant to mean that you've acquired useful items over the course of your life instead of actually buying them purchase Suddenly, with a sack full of hundreds of gold pieces, the equipment provided by the background should be the actual equipment you start playing with, including the "bag of x Gold".

So is your DM within his rights as a DM to enforce that … however, the DM is not necessarily right to enforce it.

If your DM tries to make sure that you create the character "correctly", he may blindly follow the book, and the book actually expects the DM to take some responsibility for the execution of the game. The DM has the authority to say how the game will be played, but it is also the responsibility to say how the game will be played. You cannot refuse all to decide blindly to the game books. This leads to bad decisions when the book doesn't really care.

This is one of those cases where it is actually not important and the DM should take responsibility for its decision.

If the player asks, "Hey, can I spend this gold on something? I don't think my druid would have kept a bag of gold all these years, it would have been exchanged for useful tools and supplies." It is entirely up to the DM to say: "Yes, that sounds reasonable." It is also DM's right to say, "No, you should have this bag of gold, it makes more sense how the game starts." The DM should never blindly follow the book if the alternative is not harmful to the game, especially if the point is so trivial.

So ask your DM to think it over again. Say yes, the book says that you start with a bag of gold coins, but ask if that will hurt the game if you say you have already exchanged it for useful things. If the DM is adamant, it shrugs and goes on – you can use it as an excuse for why your druid ends up in a city later: you want to buy a fishing hook from these sly but dirty city dwellers!

If your DM is able to get involved in this trivial point – and this may not be the case – if you feel insecure about your understanding of the game or your authority as a DM – that's fine. The most important thing is to present this to your DM for re-examination, but to respect their authority over the running of the campaign.

Equipment recommendation – What properties should you look for when choosing a flash?

The most important flash functions to consider are:

power

Flash units (flash units; in contrast to studio flash units connected to the socket, which are also flash units) are operated with AA batteries. When stroboscopes are used, they are the bottom of the totem pole when it comes to power. Therefore, any replacement piece that you can scrape together is useful. The output of a flash is usually given as its Guide Number, The guide number, divided by the f-number of the aperture setting, indicates the distance that the light will travel with a certain iso and zoom combination. However, many companies cheat by setting the flash to the highest zoom level (see below) to make the number appear higher. To compare apples to apples, make sure that the zoom setting is the same for all flashes, or see an overview in which the power was actually measured with a light meter (e.g. this one on speedlights.net).

Think of the output power as the maximum aperture of a lens. The more you have, the more you can do with it, but the bigger and more expensive it gets.

Tilt / Swivel

By tilting and rotating you can position the flash head in a different orientation than the body. This becomes important for two reasons. When you use a flash on the camera, the method of diffusing the light and giving the flash an attractive appearance bounces off, aiming the flash head at a reflective surface (usually a ceiling or wall). This softens the light. However, to determine the direction of the light, you need to choose your jumping surface. Tilt and pan determine your freedom to do so. Full 360 ° rotation angle gives you full freedom; Rotating 270 ° removes 25% of your selection, and depending on how you rotate in portrait orientation, 50% can be removed.

The second reason why panning is important is when you use an optical trigger system to use the flash-off camera. The sensor for this is usually located in the body and must be pointed at your optical master unit (e.g. the hinged flash of the camera or another light in the setup). When you have swiveled fully, the head can always point where the light should go, while the sensor on the body points to the camera.

zoom

If you zoom in on a flash head, the flash tube can move back and forth in the head so that the light distribution corresponds to the field of view of the lens used. You can use this function outside the camera to adjust the focus of the beam. The longer the zoom setting, the further back the light is in the head, the more focused the beam is and the further the light can spread.

TTL, M and Auto modes

TTL stands for "through-the-lens" measurement. This is an automated method of setting the flash output. The camera instructs the flash to send out a "pre-burst" flash with known brightness. measures it and then adjusts the flash output based on the results and the power limits of the flash. Just like using an automatic mode based on exposure metering on the camera body, it is quick and easy to set, but may not be perfect and you may need to choose a correction. Usually you use it for Run & # 39; n & Gun event situations where you move through different lighting situations where you may only have a fleeting chance of a shot and speed is more important than precision or consistency.

Since it is a flash / camera communication, TTL is proprietary and system-specific. If you want to use this function, you have to search for a flash that is compatible with the camera system used.

Also note that film flashes usually don't work with digital SLR cameras. The algorithms for calculating the correct flash exposure based on the film reflectivity had to be modified for digital sensors. OEM flashes for the digital age can normally switch between film and digital TTL, but film flashes obviously only work exactly for films.

MJust like M on the camera, it is a full manual mode in which you can set the flash output directly as a ratio of the total output. The ratios are most often given in point (1, 1/2, 1/4, 1/8, etc., etc.). And just like using M on a camera, this is used to ensure consistency from shot to shot and the precision of the controls. It is most commonly used in studio settings where the lighting is controlled and is unlikely to change quickly without repetition. The wider the setting range, the more control you have over the flash output. For example, a performance of 1/128 can be very useful due to the inverse square law if you work closely together for macro or product work. M also becomes very important as the only way to control flash output if you only use manual radio triggers for flash units outside the camera.

automobile is another method of automating flash light / power output that does not require TTL communication with the camera. It can therefore be found in older film and manual flash units from third-party providers. A sensor on the flash (usually an autothyristor) is used to turn off the flash output at the right time. You may need to enter the aperture and ISO settings used for recording in the flash.

High-speed sync / focal plane flash

Most system cameras today use slit locks. Their shutter speed depends on how big the gap between the first and the second curtain is when they pass over the sensor. At a certain shutter speed, this gap becomes smaller than the sensor itself. And since most flash series are much shorter than the shutter speed, the curtains cover parts of the sensor when the flash fires, and black bars are displayed at the top and bottom / or at the bottom of the frame. This magical shutter speed depends on the body and is called the "maximum synchronization speed" of the camera (usually at 1 / 200s for most dSLRs).

High-speed sync (HSS, also known as "focal plane" sync or FP) overcomes this limitation, but requires proprietary communication between the flash and the camera. Therefore, as with TTL, you need to find a flash that is compatible with the camera system you are using. In addition, entry-level Nikon and Fuji bodies cannot. The camera instructs the flash to pulsate for the duration of the exposure and to act as a continuous light source. However, the cost of rapid pulsation is a loss of power of approximately two stops.

This is most commonly used when filling flashes for portraits with shallow depth of field in bright sunlight. If you want to use a larger aperture in sunshine 16 (ISO 100, 1: 16, 1: 100s), you have to increase the shutter speed. You can also use ND filters instead of HSS. HSS can also be used to freeze motion at high shutter speeds when there is a lot of ambient light.

Trigger outside the camera

The strobe type of studio lighting with flash units outside the camera is common and you may be bitten by the beetle. So think about how many ways you can fire a flash when it's there Not on the hot shoe. The following features should be noted:

  • PC sync port (Protor-Compur) (usually only for high-end flashes)
  • 1/8 "(or 3.5 mm) mini jack sync connector – like headphone jacks (third party only)
  • proprietary wireless (TTL) slave mode (Canon: Wireless eTTL; Nikon: CLS)
  • "stupid" optical slave mode (Nikon: SU-4 mode; "optical slave" mode from third-party suppliers)
  • built-in radio receiver (normally only works within a specific (brand-identical) radio trigger system)

The main distinction is how many signals are transmitted from the camera to the flash (full hotshoe protocol or only the synchronization signal) and via which mechanism they are transmitted (radio, optical, cable).

For example, PC and 1/8 "sockets with cables can be used for manual triggering or as a way to connect a manual radio trigger without using the hot shoe. The camera hot shoe and the flash base of the flash can be connected with a TTL cable for Full communication, and of course you can either connect to some optical / radio triggers or sync connector adapters (ie a way to add a sync port if your flash or camera doesn't have one).

When a trigger system is labeled "TTL", it not only means that you can run TTL from the system, but that most of the hotshoe signaling protocol can be used. With these systems, you can control the flash remotely as if it were on the flash shoe (possibly with a few exceptions). However, trigger systems that are "only manual" can only trigger the flash in sync with the exposure.

optical triggering systems communicate with light. Proprietary TTL / HSS-capable optical systems translate the hotshoe protocol into light signals. Generic "stupid" manual systems use a sensor on the flash to detect when another flash has fired. Optical systems are limited by "line of sight" (the sensor must "see" the master signal) and ambient light conditions (the more light there is, the more the signal can be overwhelmed).

radio Triggering is not hindered by lines of sight or ambient light conditions and has a better range and reliability. Most triggers – especially the built-in ones – only work within a specific system. It's incredibly rare for triggers to work across brands or systems. Additional triggers may give you more flexibility in choosing. However, built-in triggers often offer more features (e.g. power / zoom control for manual flash units) and are more practical because you don't have to remember to bring along triggers and extra batteries for them.

As with all other trigger systems, the scope of communication can vary: some are synchronous signals (only manual), others enable synchronization and remote control of the power supply, HSS or tail synchronization, and some imitate proprietary optical or RF systems. Think about how much communication you want or might want in the future. Also consider what upgrade paths are available when you get an integrated RF trigger.

Future extensions

Radio triggers are usually part of a specific system. As a rule, you cannot combine mix & # 39; n & # 39; match triggers from different manufacturers, even if they all work on the 2.4 GHz bandwidth. And it is worth considering what a system can offer in terms of future extensions.

Yongnuo, for example, has three separate, mostly incompatible, release systems that you cannot use to mix the super-affordable, purely manual transmission with the TTL / HSS transmission. And they only offer flash units. And they only support TTL for Canon and Nikon, and you can't mix the two. You are trying to fix this problem with the YN-560-TX Pro. Currently, however, firmware upgrades that are required for use with existing YN devices are not readily available or cannot be easily applied.

If you ever plan to add or switch to mirrorless cameras, or if you need to share your lights with a shooter from another system or need more power than a flash can provide, this can be problematic. In addition, it can be frustrating if you are used to remote control TTL and HSS from your flash units when you are not using the same thing with a combination of flash units and studio flash units.

You may want to see if a lighting / triggering system supports you with options larger than the flash, whether you can mix TTL and manual equipment, and whether or not it provides cross-system support. There are many systems that offer one or the other or both (e.g. Cactus V6, Jinbei / Orlit RT, Phottix Odin II, Nissin Air, Profoto Air). The Godox X system is a current favorite as it offers both cross-system and larger headlights with flash units at Yongnuo-like prices as well as flash units operated with lithium-ion.

Battery connection / Li-ion battery

Flash units usually use four AAs. When under heavy use, these AA batteries may need to be replaced several times, so an external battery pack can be useful. A larger power source can also reduce reuse time (however, there is a higher risk of overheating).

There are some flash units on the market that use a Li-ion battery instead of AA batteries. This reduces battery management for multiple flash units and works like an external battery (increases capacity; shortens recycling time) without the need for cables and an additional device.

You have your eye on this super cheap Yongnuo, right? Even if it makes sense, just understand what you're giving up by using the lower price. The quality of the creation, the consistency of the copies and the quality of the components are probably more variable than with OEMs. Support, warranty and resale value are likely to be of much lower quality. And future / downward compatibility is likely to be lower.

Most third-party manufacturers are revising the hotshoe communication protocol. As a result, the flash may work very well with a current camera model, but may not work as well with a future or older model or, for example, a film body with what is supposed to be the same flash protocol. To fix this problem, some third party flashes can update their firmware, but most super cheap manuals (YN-660, Godox TT600, etc.) cannot.

Equipment recommendation – tripod accessories required to enable multiple brackets (stacked vertically / rear)

I have a small tripod with a mountable phone holder and a light ball. Since the ball of light is small, it is very practical, and I think it can also be a decent additional light source when I take pictures with my Gopro (in confined / remote places). However, I seem to have a few cards too little for a full deck because I cannot combine the accessories on the tripod. The Gopro mount requires a 1/4 "connector, as does the underside of the light ball (both circled in red), while the tripod only has the typical 1/4" connector (circled in green). See below:

Enter image description here

I tried looking for tripod accessories with multiple brackets in some search engines, but I only found products for professional installations (huge, meter-long horizontal bars). I am looking for a simple Y adapter that has a 1/4 "socket and provides two 1/4" males in a small form factor.

question

Are there standard solutions for my needs? If not, are there any sophisticated DIY approaches other than snatching up a bit of scrap wood and making a Frankenstein adapter?

Equipment recommendation – Is there a Superzoom Point & Shoot camera that offers more telephoto zoom than the Nikon Coolpix P1000?

In a comment, you state that you have to "shoot some birds and flowers". The zoom length of the P1000 is ridiculous for this and, with considerable costs in terms of price, weight and image quality, is in direct contradiction to your commented request for "the highest possible quality of photos with less investment" (sic). The P1000 is far too heavy to handle birds in flight properly, and the lens is quite slow even on most focal lengths. The image quality corresponds to that of a small sensor.

Outstanding image quality for a compact, but comparatively large weight and a high price is offered by the Sony RX10IV with a 1-inch sensor. Panasonic has the DMC-FZ330 in its product range, which also has a focal length of 600 mm and a 1 / 2.3-inch sensor is reduced to 12MP, while the lens has an aperture of 2.8 over the entire zoom range. This is good for many keepers of reasonable quality with medium size and weight. In contrast, the DMC-FZ80 has a longer range with a slower lens and 18 MP with a sensor of the same size. People generally agree that image quality is not a good deal unless you absolutely need the zoom range.

Flowers are 600mm too large (usually use a close-up lens to get a proper focus distance) because flowers are not easily scared. It will do a lot for birds.

A P1000 isn't suitable for much more than lunar images or capturing static wild animals from a distance (and we're not talking about zoo distances, but landscapes) using a tripod. Perhaps you are trying to rent one for a week or so to understand what it is good for or not.