tim_ludwig2

<p>Another option is what is called subtractive lighting where you get rid of light coming from overhead or some other distracting direction and then add the reflector from out in the bright light to fill with an eye on the direction of light instead of just the quantity of light. Moving under a tree or a pavilion roof are two samples of subtracting bad light but it can also be done with black reflectors for more flexibility. MUCH softer quality of light that any fill flash and much more controllable as well once you've practiced a bit.</p>

<p>shouldn't be a need to wipe it down that often, although it isn't a bad idea. The pins at the ends of the rollers are fairly fine as are their mount holes, and the spaces between the rollers and the cradle are small enough that even a very small amount of residue could cause the drag you are describing. I usually just eyeball mine and if I see any crystals or goop of any sort, give it the cleaning I described. Otherwise, I pretty much ignore it unless I get a drag like you mention.</p>

<p>Sounds like you are starting to get a chemistry residue on the rollers where they join the assembly. Remove the entire roller system from the back and run super hot water over it, especially where the actually rollers meet up with the cradle that holds them in place. If needed, use some cotton swabs like Q-tips to help clean any chemical crud. Dry with any towel and use compressed air to blow any water out from between the rollers and the cradle. That will probably relieve the problem which is extremely common with any rollers for Polaroid or Fuji instant film.</p>

<p>The simplest solution depends on how much CLOSER than infinity you may wish this lens to focus. If the answer is not much, just buy a recessed lens board for this camera off of ebay. Then have the hole cut to the proper size for your shutter by a qualified machinist, and........mount the lens backward so the board becomes an extension board instead of a recessed board. That should add close to 1.5 inches to the total available length without having to fiddle with having a new rail made.</p>

<p>Remake this image using a very large white foam core panel a few feet off to the right as a fill.</p> <p>The light source, already termed way too harsh, can be easily modified with two cloth panels of white nylon or even cotton. The source should be a few feet off to the left with the first panel in far enough that the light pattern nearly or completely covers that panel. That will soften the light and modify the speculars to a degree, but then place the second panel between the first one and the subject just out of camera range to further soften the light and it's contrast and to really smooth out the speculars.</p> <p>I think you will like the results immensely better.</p>

<p>If you are using only the kicker for separation, you might look instead to a background light as the kicker is sometimes overpowering even if well powered down. </p> <p>One of the solutions for balding men is a cutter or head screen in between the key light and the forehead. It is not to totally block the light, but rather to reduce the ration of brightness between what falls on the face and what might have fallen on the top of the head. A cutter can be completely opaque, or it can be made of something like black mesh in several layers so that you are only partially reducing the light on that area. another excellent method is barn doors on your beauty light or soft box so that you partially block the brightness from any area you desire to control. Absolutely do not use a hair light.<br> Control is the key work about all lightning and you might try a search in utube for hair light control methods or other similar titles to watch this in action.<br> There are also many good books on portrait lighting that show control methods to keep light away from the top of the head and instead concentrate it into the face.</p>

<p>AS far as a big learning curve, it is probably more challenging to spend five minutes learning to load the film correctly that any and all other functions of the camera of your choice. Buy the system that fits best in your hands and never look back.</p>

<p>Hundreds and even thousands of we Hasse users may have never gone beyond the 500CM and did not suffer the least problem with the tiny bit of vignetting. In fact, I have actually never even noticed it while on any of my shoots. I've used the CM cameras since 1973 so that's quite a long time to have never seen it's effects while viewing. That's my situation even with the huge 500mm Tele Tessar which would be the worst for vignetting.</p> <p>IF you ae going to notice it, I would expect that to only happen while shooting high key (very light background where the top of the frame might show the shade of the cut off.<br> <br />The 500C does not have an interchangeable focus screen as do all the rest and due to it's age, is much more likely to have problems finding repair parts if needed. Same with the C series lenses, although I own and love using 4 of those to 2 of the CF lenses. </p> <p>Personally, the lack of screen interchangeability worries me far more than potential repair problems.</p> <p>I suggest you call or email KEH in the US and talk to their repair department for their opinion between bodies and the availability of parts. They have been extremely helpful to me including having to machine a major component of the 500mm C lens's shutter housing when it fractured. It has now worked flawlessly for about five years with the part they made.</p>

<p>All 90mm lenses are not alike. There are many different rear group configurations and it will be safer to know what you and we are dealing with.</p> <p>Can you shoot and send detailed close up images of both the very rear of the lens, and below that where the lens threads into the shutter housing? You may only need a spanner, but two strap wrenches my also be needed, or possibly the postage to send it to a good lens repair shop. Treat lightly until we can see the photos and offer better suggestions.</p>

<p>For the softest transfer from highlight to shadow, I use a 4x6 soft box almost on top of the subject with a pair of large reflectors. One is beside the soft box, capturing part of it's light a wrapping it around the face a bit. The other is on the far side of the head and placed for a comfortable visual balance of the shadow side.</p> <p>As others have noted, your problem is exposure. Power down if you need to for your choice of f stop, and then set your camera properly and you will get the results you want.</p>

<p>The 80mm and the 60mm are not that far apart in angle of view. While I love both of those lenses, I would suggest that you think about the 50mm instead of the 60mm for the wider angle of view that it would offer. That would give you more opportunities for both architecture and landscape.</p> <p>All are fantastic lenses.</p>

<p>Kadir, The reason you seem to see it everywhere may well simply be because it is the standard focal length supplied with the camera body when sold as a kit.</p> <p>It is the so called "normal" length just like 50mm is considered to be normal for 35mm cameras.</p> <p>What I would like to know from you before offering you advice on what focal length to buy is this: what are your favorite kinds of subjects to photograph and do you usually enjoy using wide angle lenses or longer, telephoto lenses in your work. When you say you are looking for something in the 50-90mm range, is that based on your work with other medium format cameras, or 35mm cameras, or if with a digital camera, what sensor size. All of those factors would have a relationship to what lens to suggest for the Hasselblad system.</p>

<p>I'm afraid that you have only half committed to what you wish to do. To get into Hasselblad, means you must commit to buying Hasselblad made gear and that means money. It also means serious repair money if you buy a lens or other system parts without getting items that are in good shape.</p> <p>I would deal with KEH as much as possible. They have "bargain" level equipment which is often really in excellent condition, plus they truly stand behind their sales with excellent warranties and a fine repair department.</p> <p>Make up your mind that you will need to spend the money to get what you need and you will enjoy some of the finest equipment ever made!</p>

<p>Look up and study the work of Gjon Mili who did considerable work of this kind for LIFE magazine and others in the 50's (?) and 60's. There is a simple but detailed explanation of his strobing technique in one of the volumes of the old Time Life Library of Photography series which you might be able to access on line. I don't recall which volume.</p> <p>Also, study the work of Dr. Harold Edgerton who both invented the strobe light and who developed many of these kinds of techniques for scientific motion studies including the tennis play and golfer in your link.</p> <p>Then:</p> <p>Spencer Gifts party strobe which is variable speed and plenty of power in the digital world.</p> <p>Greatly darkened (near black) studio.</p> <p>Black background, even black velvet.</p> <p>Camera locked on a tripod or heavy camera stand and set on manual program with shutter wide open on bulb setting.</p> <p>Measure strobe brightness and then set the f stop about 1 to 1.5 stops underexposed.</p> <p>Open the shutter.</p> <p>Let the action proceed across the frame while the strobe fires continuously.</p> <p>Close the shutter.</p> <p>Adjust and repeat as needed.</p>

<p>I've made many thousands of dollars with those "crappy" 285's and 283's back in the day when I shot weddings. They remain quite reliable today even though I haven't shot a wedding in nearly 20 years. Just fantastically well made gear. Just use the adapter shoes to avoid voltage problems with a digital and they work super well.</p> <p>I suspect they are not the answer to what the OP was asking. The Alien Bees to serve that purpose far better even if the budget doesn't allow them at this moment.</p>