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mark_schafer1

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  1. Also consider that different flash manufactures use the nominal power differently. Check the published f-stop readings on the respective spec sheet, it’s not all linear, or logical. I find the Profoto pro heads extremely efficient… Then do some testing yourself…
  2. What Ellis said, like this the weight actually tightens the grip head, also, if you attach the head directly onto the boom arm, aka rotate by 90deg, you save yourself the grip head and pin, which will reduce the weight significantly. Then you can actually use the grip head on the other side as a counter weight or even secure additional weight to it. And yes, you can extend beyond the circle of the legs, but keep in mind the overall weight as well as booming over the largest leg with a bag on the other side, preferably free hanging, aka not on the ground.
  3. I’m amazed this still works. What craftsmanship…be careful and enjoy this classic. I’m kinda jealous.
  4. Doing this professionally, I gave up on RZ, MF film cameras and film a long time ago, but I certainly appreciate the enthusiasm. For the RZ I really like (and used) the 140mm for portraits (much better than 150mm), the 90mm for groups (more interesting than the 110mm, feels like 8x10 Avedon), the 65, for people in spaces. Not too compressed, not to distorted. That's me, having assisted a bunch of icons of fashion and portrait photographers. The 110 was an interesting choice, but beyond this, I never used much else.
  5. Basically yes. It's been a (seriously long) while, but it should cock and operate the shutter. Think you need to turn the rotate back switch to rotate so the back setting on the left (maybe remove the back) so it doesn't affect the lens action...great for testing and verifying the exposure times and f stops stoping down...
  6. My experience from years ago is that the higher the sensitivity the more the X-rays will effect the film, 100ISO, maybe 2 or 3 doses, thats it. Develop locally if you know the lab. Always use lead bags and ask for hand search, worked for me from Finnland to the White House, even for 4x5 sheet film. Also consider that air travel will radiate your undeveloped film. So the less travel of undeveloped film, the better (and yes, I did ship developer and fixer to Africa as a kid....)
  7. I'm super excited about this. While I love the Z7 (and recognize he shortcoming re. the Sony A9 and II), I prefer the Z7 in many aspects. So seeing the Vers. II improving on many fronts I can't wait to get my hands on these. Low light AF performance, eye and face recognition, are the aspects i'm mostly interested in, besides a second card slot that seems unavoidable to me. So I have the Z6 II on preorder with the hopes I can kick my Sony gear out, as I much prefer the Nikon glass...
  8. Didn’t Sony have quite the pace going a little while ago? I’m surprised the A9 is holding up for so long, I’m shooting mine now for 27 month. And as much as I hate the ergonomics, repair support and built quality, it still gets the picture while the Nikon Z7 fails (even that I like the image and ergonomics so much better). Anyways, had a chats this week, discounts on the A9 is clearing out the channels and we’ll see a Mark II in the fall. It pains me to say, but I’ll get 2 as the Nikon is not ready for prime time shooting silent at High iso in challenging, low light. otherwise, it’s my fav camera these days and I preordered the 85mm last week.
  9. I would go with a Rolleiflex or Rolleicord ( if that’s more the budget), I’d even consider a Mamiya C330 (as a bow to the destination, and you could get interchangeable lenses). And last, Seagul made a version, but that’s more toy camera territory. I’d also look into close up lenses for these, but the classic 75/80mm should get you far and the finder opens a slightly different perspective. Also, you actually see what’s in focus as opposed to a Mamiya 6/7, Plaubel Makina 67 (the most compact you could get) or other range finders. And overall the Rolleiflex is a pretty compact package with few moving parts. But you need a light meter...
  10. As usual, keep it simple. I’d look at at the Manfrotto Master, stacker, there’re 12’ high, aka sturdy at lower height. High enough to block out sun if you want. As for a reflector size, think about your subject, usually people are around 6’ so half that is 36”, look at 42” reflectors. I personally like a black and white and a diffusion or one of these all in one. Next up you need to clamp this onto the stand, A clamps can do the trick for vertical placement, but otherwise you need and want a reflector holder. They’re a bit whimsy but do the trick, mostly. Get the one with clamps. And finally you might want to consider a small sand/weight bag and be aware of any wind as mentioned. Finally check out used sections everywhere. This kind of equipment gets resold often, and for low prices.
  11. Also, with the RZ you have one lever to advance the film and cock the shutter. A real bonus in my book...
  12. Well, having used the RZ system extensively while assisting and when starting out, I have to say it's a very reliable camera with very few quirks. Actually I never had a body quit on me during a shoot. And sometime we actually traveled the world (Mirror lock up, spare battery on hand, etc.). The RB is to me a studio still life camera, as you have to advance the film separately from cocking the shutter (and no pro used them in the circles I worked in, aka major fashion publications). If that's not a deal breaker and you want to be able to operate all manually then this is the way to go. Any other way, the RZ is superior with more modern optics and a larger system. My fav combo was manual Prism finder (That's RB) on my 2 RZ II, 140mm, sometimes 90 (had a 110, sold the 150 quickly and kept the 65 just in case, but the 140 is pure magic (to me)) and 3x 6x7 220 backs and a Pola back with cut to measure 6x7 horizontal and vertical slides, 81A of course, shooting portraits. Now I know that dates me, but hey what a combo...
  13. While lighting has its tips and tricks, nothing beats experimenting. If your on a budget look at Photek softlighters. Beautiful light, easy umbrella setup, 3 distinct sizes. The key is that your light head "comes out" a bit, like a light bulb ( I use profoto pro heads) so it can fill the umbrella (or soft box). Elinchrom makes probably the best current octa reflectors, and some are affordable, to me reverse mount is key and some of these need to be modified. All of this is cost and experience. I only use square soft boxes for a general fill or to pump through windows. I'm a strong believer that for portraits a round shaped mainlight in most pleasant and natural, faces are oval and a square light always feels harsh ( but that's a style as well)...
  14. As you're in NYC I suggest renting various equipment and see what gives you the look your after. Very rapid strobe has its points as has continuous lighting. Both introduces their own flow of image capture, timing and anticipation. For a more "natural" set I could see continuous lighting at adequate strength so your little animals and kids to freak out. It might feel a bit Harsh, but you have to mold the light. Plus, you see what you get...
  15. My experience is to use either a hard light former, aka a beauty dish ( Mola makes various sizes) or go with natural light and rotate your subjects. You could use reflectors but they need to be manageable in the wind, so 36-42" is a good size. Or if you want more of a punch, a fresnel type, aka Peter Lindbergh, etc. I generally get great results just working with daylight and good exposure all the while making sure your subjects look great and having a ball...
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