scott_walton2

Hello Anna, For weddings, I use an extra small softbox with my Norman 400B's and my Quantum's... I think they are the X's and have a 400w/s powerpack. Softboxes tend to fit almost all "pro" lights but all you need is the appropriate speed ring. Thankfully, the same speed ring fits both the Quantum's and the Norman heads. For what it is worth, I really prefer using the Normans because the head is so light. After a full day of hoisting my SQA and the Quantum... well my wrist are a bit sore. Some people will think that the Normans are a pain... fully manual but if your used to it, it's a piece of cake! f11 for generally most of my shooting and the softbox makes it so soft and forgiving... the action is further back, open up a stop, closer... close down!

There are a few things to do to give seperation from the background. With the light in the same position, get some white and black foamcore... 2-3 sheets of 16x20 is fine. The black is know as a subtractive reflector and it will not only take light away and give your subject a more 3D look and will also give you very subtle "highlights" of thin black lines at the edge of your plate and the same thing with the cup. place the reflectors just outside of camera view and as close to the subject as possible. By lifting and lowering each reflector, you will be able to see the difference albeit subtle. You can (and should) try all possibilities... even putting aluminum foil on one of the reflectors for a different reflector.<div></div>

Anna, in my intent in saying what I said was to "keep it simple" (aka KISS). This enables you, as the photographer, to concentrate on what is happening with "their wedding" and not to be to disruptive or having to lose some shots due to the fact that you have to dissassemble. I have shot hundreds of weddings and each one is different... most all are fun. For me, keeping my load light (that's not to say I don't bring extras of everything... I do!) is key to being able to shoot hundreds of frames and getting comments from the bride like "..where were you, you got so many things that I didn't see, these are beautiful...". There have been so many shots that I was so glad to get and the result is that I have a client base because they remember the shots and how I was "almost invisible" that when they have their first anniversary, birth of their baby, ect. What I have in my hands are my Bronica SQA, bracket, Norman or Quantum flash with a softbox (usually the 12"x16" Photoflex) and that yeilds a beautiful soft light. I have even been approached by some other shooters when I was doing a wedding in a large (multi room, wedding function center) hall. They started asking about the softbox ect. but my point is, you are there to capture "their day". By all means, use what you want but be proficient with it before hand. For me, I like to be unassuming and unobtrusive but be there for that fleeting moment in time that I fell obligated to capture!

We all know that sunlight is harsh but using it to our advantage is what must be done. The nice thing about using strobes and a leaf shutter, I can regulate both independently where as with reflectors ect,... yes you can change the contrast of your subject... you also have to very well aware and properly place yourself for an appropriate background.

I just want to ask... with this boom arm, you are planning to have an assistant with you? You might also find, when using your reflectors, people will have to squint because of the reflection... every situation is different. Anyway, Take a look at Photoflex's (Calumet and most other decent photo stores carry them) Litedisc. They come in silver/gold, white/silver, sun/silver and also diffusion disks of ALL shapes. The nice part about these, they collapse down to a third their size and can be carried in a larger size camera kit.

In this situation, a wedding, I agree with Steve. You really don't have time to be setting up (if your "capturing the essence" of the wedding) reflectors and the like. Group shots or singles can turn out beautiful if the sun is on their back with you filling with a flash with a small softbox or just with regular flash. The effect will be a beautiful halo, from the sun, around their heads and their eyes will "almost" always be open with a perfect exposure from the flash.

Reflectors, both subtractive and additive, should be used for the engagement and wedding portrait if your doing it outside. Anna, if you have an assistant helping you, it is more effective if they are outfitted with the extended arm that has a radio slave and a second flash... at the wedding. I say a radio slave because there are ALWAYS people that are behind you shooting the groups and if you have a regular slave, their little flash will be setting yours off... more expensive, yes but certainly more effective/beautiful as your end result!

Dan, There is an easier way to convert... the teaspoon method and for B/W there isn't the need to be exact. Slightly rounded teaspoons. Enclosed is a converion chart I have used for about 25 years with great and predictable results.<div></div>

The more directional your lighting is, the harsher. Think of it this way, in the winter, the sun is much more directional and gives a starker look. In the summer, when the sun is over head, it fills in the gaps more. Now with this in mind, and knowing that you have 4 lights... use 2 lights as "main lights" with one as a directional, 45 degree and then use the other directly over the camera position (high enough so you don't have multiple catch lights but not so high as to create racoon eyes) at 1/3 to 1/2 stop over your directional main light. This will give you a wonderful layering effect AND fill in any imperfections (but there is always retouching to do for formal portraits!). Having a UV filter with a few small dabs of clear fingernail polish on it will also give the effect of a Softar filter and SLIGHTLY soften things.

"In the old days..." (no offense taken LOL) we used to retouch negatives with leads and then retouch prints also but makeup, both for men and woman is helpful.

Retouching in PS is so much easier if you blow things up 200-400%. Darken a few pixels and lighten a few. Small brushes in the 2-5 size for dodging and rubber stamping is the way to go. Set your brushes at 20% opacity and don't try to do it in one felled swoop!

Dan, reading your whole thread...1- don't plan on using air for agitation (for two reasons 1- is that air will degrade the developer and 2- there is a thing called a plenum in the bottom of large tanks that is used to spread nitrogen evenly. Plenums aren't just a simple row of tubes hooked together, yes it does look like that, in the shape and size of the bottom of the tank but they also have varied sized holes for the nitrogen to flow evenly... small pinholes closest to the intake manifold going to slightly larger holes at the far end of the plenum. This way, the nitrogen flows evenly and is distributed evenly across the base of the tank (a little math goes into making and adjusting them) and just by using a simple tube, you run a great risk of uneven development due to the uneven agitation and scratching the film.

Also, Diafine is a great developer but with the testing I have done, you will not have as much speed gain as you do souping 35mm. Testing should be done to find the optimum ASA as with any new process.

They are both Divided D76 but if you know you have an allergy to Metol... get itchy hands after developing (at least), use the one with Phenidone. Phenidone is more expensive but in the long run, you use a whole lot less per gallon. There will only be a slight increase in density so don't worry.

Divided D76 is great. Extremely fine grain, compensating, and I have used it with great results with Technical Pan as well as all other non t-grained films. 3 minutes Bath A, 3 minutes Bath B - fixer and wash. You can get it commercially or cheaply mix it yourself. It has the same keeping qualities as Diafine and can be used over and over. Not as high on the acutance but definitely extremely fine grain! The Divided D23 works best, for me, when I use t-grained films. Some people use the Diafine and state good results but I don't care for it as well as the DD76 as the negs with DD76 are thinner than I care.<div></div>

A Fuji 210mm was my first lens as I was using it for tabletop stuff in school and still very much love it! With a Linhof Tec III I have for feild work, I had a recessed lens board made so I could use a 65mm I aquired and it works great... not much movements but enough. I also went the long lens route several years ago and went with a 360mm 5.5 Linhof because it was dirt cheap and in really nice condition. If you have tried the 450mm, a 300mm will, in my opinion, leave you wanting more. I say just get the 450mm. Bearing in mind that a T lens isn't as good for "closeup/macro" work, you will be able to do head and shoulder portraits with the right amount of floor space. I have a small extension on my 360mm which is great as it makes the bellows draw alot smaller and more managable. Look into one of those. Lon, I cannot really comment on which camera is right for you. I have a studio camera and a field camera and yes, my field Linhof III doesn't do everything... but it serves my purposes and I have learned to work around it.

One other thought on location shooting... A bag bellows is good to have and is sometimes needed but it is one more thing to make sure you have packed. My 65mm can be used if I drop the bed out of the way, raise my front standard and close the bellows up tight. Before I went through the expense of having a machine shop make the necessary recessed lens board, I made sure I could use it. This being said, with the ultra wide and the tele (especially the tele), make sure your camera will support the two ends... a metal field camera comes to mind most of all but I too LOVE the look of the woods. I had a chance to get a Zone camera for $150 but talked myself out of it because I would have to get a ground glass protector and be more careful with using heavier lens and the fact that I do shoot in the rain... it just wasn't as practical for me as a metal field was. Just a thought.

Syncro sun, as it is called, is taking a reading of the background light (the sun as in some of these shots) and either matching it with strobes or under exposing it. To do this you need to have a fast shutter speed (which is what regulates the ambient light when working with stobes). The f stop regulates the effect of the flash. Let me also say that your best bet is to use a leaf shutter in which there is no need to worry about the shutter speed as you would when shooting with 35mm.

Now for how to do it... Take a meter reading with say 100asa film. Meter the sun (one of your light sources) and let's say it gives you a reading of 1/125 @ f16. With the sun behind the model, now set up a strobe facing the model. A reading of f16 from your strobe would fill the model but they would be darker than you probably want. Moving the flash closer (a foot is essentially = to an fstop) would brighten your model and give good flesh tones (normal looking flesh tones). To darken the sun to make it more dramatic as pictured, raise your shutter speed to 1/250 or 1/500 of a second.

Doing this is a little more work using 35mm but using a slower speed film helps conquer the synch speed issue.

You will always have specular reflections unless you change your lighting. Mount a large piece (20x30 is good) of foamcore over head and angle it towards the camera (30-45 degrees from the floor). Take one or 2 of your lights, with stands and point them towards the foamcore... effectively making it a large softbox. The difference here is is that it becomes a reflector of a light source and not a light source. Your shiny products will have details and will be lit well also. I used to shoot alot of jewelry and glassware this way and it worked out great.

Funny thing is... Conrad spelled it out. "Recommended" times are just that...a starting point. Conrad also described what is called a "clip test". Take the roll you describe (ie a roll of PXP) and shoot it in your back yard or whatever making sure you have highlights, midtones and deep shadows. Seemingly , on a sunny day, for a good comparison, shoot the whole roll of that one scene. This will make your job easier to see the differences. Cut what you feel will be a few frames and develop @ recommended times for whatever developer you are going to test. Take another clip (with 120, just put the roll your clipping from into a dry developer tank so as to not expose to light) and develop it 15% less than "recommended" time if your 1st clip is a bit dense. The second clip should be a bit easier to print as the highlights won't be as dense. Now, before you develop anymore, take those dried clips and lay them on a newspaper. The old "rule" was that you should be able to read the newspaper through even the highlights. If this isn't the case, take a third clip and process it 10-15% less than the second clip... with one caution... try to keep the times above (as long) 5 minutes. Under 5 minutes and you will get into the realm of to short of a time and get mottling that are very visible in your skies and other places that will ruin a picture.

I do clip tests whenever I change films or developers and find that the "recommended times" are usually overdeveloping the films. The clip test that, when printed, gives you a print that has deep shadows with detail all the way up to the highlights (except the specular highlights) that when printed, render details without having to burn, is the perfect time and you should then make that time "Your Time". The rest of your rolls will be developed at this new time and your job in the darkroom will be alot easier, with better looking prints! I do have to say though, on cloudy days, you will have to add sometimes up to 15% of time because what you will find out shooting on cloudy days will be that with your "new time", your film will be to flat. The additional push will give your highlights a boost in density that will be needed to get great contrast for your cloudy day shooting.

Hope this all makes sense.

I have one of the Kodak Readyload backs and have never had trouble with it. The "trick" to it is, when loading (and even when I pull the darkslide to shoot...) and unloading, I depress the release button on the top of the holder. By doing this, I find that it releases enough pressure illeviating any possible jams or misloads. I have never had any issues with fogging or streaking from light leaks... it has just worked well for me!

Hello Darcy, I too have a 360mm 5.5 in a compound shutter and it is razor sharp. It is mounted on my Linhof board with 2 or 3cm extension which cuts down my bellows draw. Even shooting at f8... which I hardly do, it is very sharp. The only real complaint I do have... with it being a 5.5, it is a big heavy piece of glass! To keep the contrast up, I find that using a long lens shade helps cut down the reflections (even off grass) and stray light. It does help ALOT!

When your looking at the back, where the label is, there are 2 clips on the sides that will open the back when pryed off... a jeweler's screw driver pushed under the short side will usually pop them off.

If you have Photo Shop, there is a tool in your tool palette called a magnetic lasso. This is the making of a way to put in a background on ANYTHING! Just a thought because I do it alot!

Why not rent what you need? Almost every big city I have flown into has a pro shop that rents everything from cameras, flash or even studio space!

You did fine! The nice part of the press shutters, you don't have to reach around to the lens to cock the shutter... they are self cocking. This makes shooting multiple sheets faster. They are also very easy to clean and lube, like the regular compur shutters! When you get it, go through ALL the shutter speeds. If they sound good, fine... if the slower speeds lag or hang up, take off the front and back elements by unscrewing them and open up the shutter with a set of fine screw drivers. With a soft, little paint brush and some isopropyl alcohol, swab the insides out a few times and let the alcohol evaporate and reassemble. Most of the time, all that is needed to get them going like new, is to get the years of gunk and old lube out. Go here for a quick overview:http://www.rolandandcaroline.co.uk/synchro-compur.html or here:http://rick_oleson.tripod.com/index-55.html for a visual break down. If your not comfortable with this, prepare to shell out about $100+- for a CLA...that is if it needs it.

I did them for about an hour in boiling water (actually I boiled the water first and brought it down stairs to the set tub). I have a grey, brown a medium blue and then I got another one and left it just natural for high key portraits. I have been toying with the idea of doing another one but splattering it with latex paints of different colors for fun.

I have to say Tara, the grey I use the most so I would say it is a good one to start out with... you can always add a color wash by putting a color gel on a background light... This you can do with any background color. Black background and a color gel of any color will reproduce as a real neonic color. Grey background with a color gel will be more of a pastel wash so with this in mind, you have the makings of portraits from mild to wild! Fun isn't it!

Cassie, I certainly didn't mean to come across brash and maybe shouldn't have said "I agree on all counts..." like I did. I do have to say that there are ALOT of stuff out there that isn't all that good but we as "gadgeteers" might tend to be sucked in by a lesser quality product because it is cheaper. Photography, like anything else, is in the realm (definitely!) is a get what you pay for kind of thing. I mean that as far as lighting ect. If your planning on doing "location" portraits, like going to someone's home, where there is electricity with numberous outlets... self contained lights are a choice as are power pack/light kits. If you want to do location/out in the wild kind of portraits, think of the self contained/all in one kind of powerpack/lights like Norman 200 or the more powerful 400B's, Lumeydyne's or the Quantums.

For the powerpack kits, you can get into Novatron line (which really are quite durable!) and an "inexpensive" kit with 2-3 lights, powerpack of about 400w/s, stands, umbrellas and a rolling case comes in at just under $1000USD (go here:http://www.novatron.com). There is a bit of a thought process you need to go through to know what you want to get into and judging that will steer you into a useful lighting setup that you can grow with.

Why don't you just go to a decent fabric store and get some 102" wide muslin and dye it? 6 boxes of black RIT dye for a background of 102" x 25' will render a natural colored muslin a wonderful rich grey... and you can ball it up when your done! Tie is up... not to tight though and you will get a great supple streaking in the background which looks great, like an "Old Masters" background. The whole thing will be alot cheaper (and less headaches) than toting around seamless!

Define affordable... to me the Norman 400B will regain that unaffordable light loss because it starts out being a self contained 400 w/s unit! It is a fully manual unit but they have power!

I have to agree on all counts, Cassie. Learn the "rules" of lighting and you be able to break the rules effectively when more creative results are warranted. Strobes will be your best bet and all depending what look you want to achieve will dictate what light altering devices your going to want to purchase. There are a ton of good books, with examples, of lighting techniques/patterns that are tried and true such as Rembrandt, Loop, Butterfly and Split lighting patterns, to name a few. Each, for the most part, can be done with straight heads, umbrellas, softboxes ect. but to use them all effectively so that you "beautify" your customer is knowing which one to choose and use for each individual customer!

Pick a style of a shooter you admire and try to replicate their work... even using window/natural light by using additive reflectors and subtractive reflectors. Naturally lit portraits could end up being your niche!

Thierry, I read the whole thread and in my opinion, to get almost fool proof development with t-grained film (like you use), and have very easy to print negative (probably easier than the negs you get developed), I recommend Divided D23. It is very easy to mix up, has a REALLY long shelf life, is a compensating developer so you won't have any over developed highlights (if you do alot of burning and dodging now, you won't with this developer!) and very fine grain. With one shot developers, there are "recommended" times that could over or under process your film (usually over develop). The highlights will keep developing if you leave the film in the developer to where they become "bullet proof" and seemingly unprintable with one shot developers and is why I like 2 bath or Split developers as they are sometimes called. This is not to say that you cannot get great results with one shot developers but to get there you need to put in the time to test and tweak your processing time. I'm going to try to attach the recipe of DD23. It is really basic and I want to say that Metol is the same as Elon and for bath 2, if you can find Kodalk in a dusty part of a photo store... buy it because it is a nicer working chemical but Borax works very well also.