johnny_tergo

Well, that didn't work so well... You can figure it out :)

Definetly marked as one of my favorites...

 

 

Stefan Rohner

http://www.photo.net/photodb/folder?folder_id=380139

http://www.photo.net/photodb/folder?folder_id=356406

http://www.photo.net/photodb/folder?folder_id=352030

WOW... Where to start? There are SOOOOOOO MANY diffrent things that come to

mind when you mention fashion photography and lighting. First of I guess I will start

by saying that whatever system you choose to go with you should keep 2 things in

mind. 1) You want a system that is VERY expandable.. by that I mean something

that you can add all sorts of light modifiers to. i.e. Very large softboxes, very large

umbrellas, satelite reflectors, ringflash, light banks, ect. 2) Lots of power!! I would

definetly go with a pack over the monolight.

 

Somebody mentioned that if you have a very small space you may only need 320/ws

of power. Personally I would not go with anything under 2400/ws for fashion. THIS

IS ONLY A PERSONAL PREFRENCE!!!! I will probably take allot of flak for suggesting a

ton of power, but personally I see it as good advice. Allot of the times I use very very

large umbrellas/softboxes and lightbanks. When you use this big stuff you need allot

of power behind it to give you a nice quality of light. For instance... If I am shooting

with a 6'x4' softbox I am getting about f16 at 6-8ft iso 100 at 2400/ws if I am

standing directly infront of the softbox. Sometimes when I have shot with an 8x10

camera I need that aperture to be down around f64. A 4800/ws pack is necissary for

that. It is really going to depend on the look you are going for and the amount of

money you can afford to drop into a system. Between $2000 and $3000 you should

be able to get yourself a used 2400/ws Speedotron pack with a couple of heads and

some light modifiers, or if you search very carfully you might be able to get yourself a

Profoto 2400/ws pack and 2 heads for around $3000. The Speedotron system does

not have a ringflash, but you can get a Profoto ringflash and modify it to work with

the Speedotron system.

 

What I would do if I where you just starting out, I would get a nice 2 or 3 head

expandable system with a 2400/ws pack and then rent any light modifiers of extra

heads that you will need. Rental is ALWAYS where you should start when you are

looking into a new peice of equiptment. Things that work for Richard Avedon don't

work for Richard Burbridge and things that work for Terry Richadson are not the same

things that Ellen Von Unwerth uses. Everybody develops thier own style and

methods, as will you. Look at allot of magazines... Vouge, W, French, Harpers Bazar,

V, Self Service, ect. This will give you ideas.

 

Hopefully I helped atleast a little tiny bit. I am soooo terribly under qualified and

very very horrible at expressing my thoughts in the form of writting! :) Sorry

Hello David,

Thoes are some BIG prints! :) Very cool! Other than using the method previously described (vaccum seal and spray) I'm not sure about any of the other methods of doing this. There is a guy here in Los Angeles that is an EXPERT at this kind of stuff. He does all the work for A&I and he has a TON of high end clients. Whenever I need something expertly done at a reasonable rate, I use this guy. His name is Sino Wong and he owns a place called, "Finishing Studio" he is located at 307 N. Parkman Ave. Los Angeles CA 90026 Phone # (323)253-4896 He is very curtious, extreemly fast and reasonable. He would probably be willing to answer any questions that you might have. Good luck with this, and if you remember please let me know how it goes I find this an interesting topic.

Q.G. -- Like I said, I have yet to jam my Hasselblad. If I ever do, the screwdriver will work just fine. I am with you 100%

Most of the Hasselblad specific tools that you see have one distinct advantage... and that is that the head of the screwdriver is shrouded to eliminate the extreemly sharp point, or edge that the screwdriver has on it's corner. This is done to help eliminate the possibility of causing allot of damage with that sharp point. Myself, I have yet to have a jam. Now that I wrote that I expect to have my Hasselblad jam sometime durring my next important shoot. :) I will be ready with my long shaft small slotted-head srewdriver, and I will be very carefull!

Kevin, this photo is much better than any of the photos in Grant's folder so I wouldn't worry too much about his comment. As far as your question goes I will give you my opinion. If there was no detail to capture in the sky I would simply try to compose the image in a way to eliminate the sky from the photo. Maybe stagger the girls a bit and shoot on an angle to the canal. Then crop a little tighter and use less D.O.F. You said this was a photo just pulled out of a contact sheet and not an image from your portfolio so no worries.

Got it... Too many variables to give a solid answer. I am currently shooting Speedotron blackline where the head is somewhat adjustable, not to the degree of the profoto. The reflectors are both this style 7" and 20 or 22"... photo stolen from EBay user abnerscamera

You want the best of the best? IMHO check out

 

http://www.artandcommerce.com/ac/

 

Let me know what you think...

However all things being equall, as far as type of reflector... 7" parabolic and 20" parabolic, which will focus the light more?

I love it when things turn work out to serve 2 purposes. :) No loss of pride or money.

As the previous poster wrote, it will depend on the type of shooting you will be doing. If you need to move your lights around allot, need the portability and will not need 2400ws, then go with the White Lightnings. Personally I LOVE LOVE LOVE to shoot in bright sun with my strobes at ambient plus 1 1/2 so I would scoop up the 2400 ws pack in a heartbeat. Both are excellent and I doubt that you would be dissapointed with either.

I have always been under the impression that if you use a larger

reflector you focus the light more and can therfore "throw" it

further. A friend of mine suggested that since the reflector was

larger the light beam would actually be wider spread. I suggested

that although his method of thinking seemed logical, he was wrong.

Seing as we are at work and I have no acess to my strobes to test our

theory's, I was hoping that a few people who know what they are

talking about would chime in and let us know there opinion on the

subject.

 

EXAMPLE: 1200 ws/pack at full power with a 7" reflector f8 at 20

ft vs. 1200 ws/pack at full power with 20" reflector f11 at 20

ft

 

I know I am off on the exact f stop, but I am just trying to explain

what I am getting at.

 

 

Thanks!!

I have actually had some very interesting results with this film. I shot 6 rolls in all and found 4 of them shot indoors at a convention center to be right on at 64. 1 roll was shot outdoors, midday, direct overhead sun. Could have been E.I. 50. (can't explain the diffrance) I was trying to experiment with the color cast, and got some funny looking stuff. The last roll was shot at nite and bracketed at exposure times of 2, 3, 5, and 8 minutes so I have no idea what the speed of the film would have actually been. Your idea is really interesting and I would LOVE to see the results. As was stated earlier you will need to overpower ambient to get the tungsten lights to overpower the ambient, however I would want to shoot this at ambient plus 1 1/2 anyway. I would think that would look very interesting. Anyway, now that I have strayed from the question... I think 64 is a good rateing.

Congrats on your purchase!! Peoples opinions will differ, but as long as you got something that you are comfortable and happy with you made the right decision. About the step ring... For about $60 you can get the adapter ring for the Lee Filter System. This will allow you to mount the resin filter holder to the lens and it also has a 67mm thread on the front. WORKS AWSOME!!!! It is a little bit more than most any other step ring, however if you already have the Lee system you are super stooked! Enjoy!!!!

May be a stupid statement on my part, however you can never be too carefull... so Do you have the newer style CFE lens? If so, there is a little slide that you push into the sync mechinism. That slide helps to hold the sync cord in place once it is in place... but you need to press in the slide before you insert the sync cord. Hopefully if you had this style lens you would have noticed this cause if not you may have screwed it up by pressing that hard on it when trying to force your sync cord.

NICE!!!! Thankyou both!

Hey there everybody! I am getting ready to drop down some $$$$ on a Hasselblad. I

am VERY VERY pleases with the 501CM and feel that there is no need for me to get

anything more (ie. 503cw) Just one queation... Will a digital back work on the

501CM or do I need to goto the 503CW? I don't see why it wouldn't, however there

might be some electronics issues... Thanks for your help!

If you are shooting portraits of women most of them will be highly offended by the shapness of either lens. (The exception being thoes that use a professional make-up artist)

Has anybody tried the above combination. I cannot find any times for

this combo. I rated the film at 800 and am looking to get a dreamy

pictorialist fine art look when I Lith print. It is a very high key

shot, so I am thinking that this might be a good combo... any help

is appreciated! Thanks

Make sure you backup anything that you need on your compact flash card, and then formatt the card. Sometimes this will do the trick.

I made some mounts last nite out of matte board, and the problem was that I did not cut out the area for the calibration area. Once I cut out that area all was good. The thing that was mentioned about the little reflective tabs has nothing to do with it. The tabs are on the upper side of the trays so they do not seem to affect anything. I took a piece of black matte board, cut it out to the factory tray size, cut out the calibration area and the area directly under the lid light and then cut a piece of glass to fit into the cut out. Worked perfectly! I only had a minute to mess with it last nite as it was already late when I got home and then extreemly late when I finished the mount. I will try to get some scans tonite and post up the results. Thanks for all your help.

Ahhhhh!!!!! "The two reflective squares" that might be it!!!!!!!! I am going to try and buy another one of the slide holder and then I will butcher it by cutting a hole in the center that would fit my negs with the thin sheet of glass over it to hold it down. That way I have the two squares there and the center is open for the negs... I will let you know what I find out.

Thanks Johann. I am shooting 4x5 negs, so I am fine in that respect. What purpose does the card mask serve? Is that just giving me a refrence point of where to place the negatives? I am not having a problem getting the negs in the right area of the scanner, I am just having trouble getting the scans to scan right. Colors are waaayyy off! If I scan the same thing in the film holder it is great, as soon as I remove it and lay it on the glass it looks horrible.

I understand that the area for scanning negs is smaller than the glass area for reflective scanning, however I did place the negs under the light source and then place the glass over the negative in that area. The glass may be displacing and refracting the light and that might be what is giving me the problem but the negs are definetly under the right light source. It might also be a problem that the negatives when in the original film strip holder are not directly flat on the glass surface like they are in my method.

 

I think you are right the solution is making another type of neg holder, or buying one specific for that if they sell one somewhere. Somebody must know how to do this, since I see it in almost every magazine around. It seems like a really trendy way to display photos right now. Somebody help!