Continuation CFL Bulbs

[miss.annette_leigh_haynes]

<p>Using Calumet CC-400 4x5 View Camera with 210 mm Lens<br>

I want to use continues Lighting 1CFL 150 Watt 110 Volt 5500K should be about 660 Watts correct me if I am wrong cost of two Bulbs is $24.46 with Shipping not $30.00 Each using two Tripods with 150 Watt CFL Bulbs one at Subjects Left the other Facing Subject behind the Camera how Important is Back lighting Subject using B&W 100 ASA Film or should my two lights be in a different position. I want to get an old time Photography Look. Thanks for any help Annette</p>

<p> </p>

[lex_jenkins]

<blockquote>

<p>"I want to get an old time Photography Look."</p>

</blockquote>

<p>Can you link to some examples of the style you'd like to emulate? Often the distinctive look of older portraits came from the way the light was used, not just the amount of light produced by bulbs, the sun, etc.<br /> <br /> For example, if the look you'd like to emulate was done with Fresnels, then CFLs might not be the best choice. If done with a beauty dish, you'd need a lot more light than the typical CFL produces, and the higher output CFLs may not fit some light modifiers. One of the <a href="http://www.amazon.com/LimoStudio-Photography-Studio-Shape-AGG1087/dp/B00DULD1HA">CFLs advertised for photo use</a> appears to have the dimensions listed backward: the actual dimensions appear to be 4" in diameter and 12" or more in length. That may affect your options for light modifiers.<br /> <br /> But, again, it depends on the types of older portraits you'd like to emulate. Links to some examples that have inspired you would help.<br /> <br /> Here are a few examples:<br /> <a href="http://www.ohaapala.com/"><strong>Altieri O. Haapala</strong></a> in Finland specializes in homages to older style portraits, including cabinet cards and <em>cartes de visite</em>, and late 19th century-early 20th century stylized portraiture. Because they emulate a wide variety of styles and do events as well as studio sessions their lighting styles and digital retouching styles vary quite a bit. But it's a good start to indicate whether any of their styles are something you're wanting to try.<br /> <br /> <a href="http://georgehurrell.com/"><strong>George Hurrell</strong></a>'s niche was 1930s-'50s b&w Hollywood cinematic style noir and glamour portraiture. He used the same types of lights commonly used by cinematographers, including Fresnels, "cookies" to modify light (variously spelled cucoloris, cukuloris, cookaloris), etc.. There are some reasonably affordable small photo studio continuous lights to emulate that style, but these fixtures may not accommodate the higher output CFLs.<br /> <br /> Late 19th-early 20th century photographers often used daylight, either direct sun with modifiers or diffuse daylight. Emulating that look would require less specialized equipment, but may require a lot of light and some simple scrims, diffusers and reflectors to control the light. <a href="

Mann</a> chose to embrace the flaws in wet plate collodion photography, while others using that type of medium prefer to pursue optimal results - see <a href="https://www.facebook.com/mark.osterman.3?fref=ts"><strong>Mark Osterman</strong></a>'s recreations of historically accurate classic photography techniques.</p>

[dhbebb]

<p>The main features of CFL bulbs are that they run cool, have a colour temperature which approximates to daylight (5500K) and consume less current than conventional bulbs for a given light output. They are not, any more than any other bulb, intended for use as a light source as bare bulbs – some kind of fitting will be necessary.<br>

There are many threads on portrait lighting on PN, but the absolute basic set-up would be one soft light (such as a CFL bulb plus a white umbrella) plus a card reflector, more versatile would be two of these lights, one used as a key light (in line with the subject's nose, 45° off to one side and approximately angled down 45°) and the other as a fill (half the strength of the key light, as close to camera position as possible). A backlight, or accent light, is not going to have a material effect on exposure but does allow the subject's hair to be tonally separated from the background. As such, a backlight is well worth having.<br>

The three-light setup is an absolutely basic one, classic Hollywood lighting for black-and-white films is far more complex, with the basic setup being augmented by quite a lot of miniature (or "dinky") spotlights to pick out details, the rule in black-and-white being "If you want it to stand out. put a light on it!" Lighting for colour is intrinsically simpler, but you may wish to investigate accessories such as "beauty" (metallised) reflectors.</p>