b_christopher

<p>Slave cell is not seeing the other flash? I don't think anything is faulty. In a pinch, you could try fashioning a small reflector with some aluminum foil to gather a little more flash light to the slave cell. Other options are, a plug-in slave cell(e.g., Wein Peanut slave) linked to a pc cord and placed near the main light, or radio transmitter and receiver.</p>

<p>I used to use the 28-70 f/2.8, the most for portrait work. Now I use the 24-70 f/2.8, the most.</p>

<p>I change it up every few weeks, just to keep things interesting :p</p>

<p>A flash head certainly can overheat and get damaged with prolonged use of the modeling lamp. Especially on a model without a cooling fan. The higher intensity hot lights, which use continuous tungsten bulbs, get very hot and will burn anything that is very close to it even for a short period of time. Leather gloves and pliers are essential tools to have when working with hot lights, which a modeling light on flash head is, basically.</p>

<p>1. It would be very strange for a flash unit to fire outside of the camera shutter exposure, but I guess it's possible. <br>

2. You should be able to see the difference in intensity between 1/1 and 1/128th. You may want to try the different power settings and intensities with the flash off of the camera via the Pilot button. You <em>should</em> notice a difference in intensities. If the intensity is not distinguishable between the power settings, the flash is obviously defective. If the intensity is distinguishable between the power settings, the flash may have a defective component in its ETTL circuitry.<br>

For what it's worth, a few years ago, I had two 550EXes with inconsistent ETTL exposures. As I recall, at the time, there was much talk about the 550EX having such a problem.</p>

<p>1. (ETTL)Meter can be fooled by bright light - especially if you're shooting while facing the mirror. The flash bounces right back into the camera, the meter detects lots of light, adjusts accordingly(so not to over expose), and you get a dark picture.<br>

2. Flash happens very quickly. More quickly than 1/125th of a second. So, a 1 second exposure with flash and 1/125 of a second exposure with flash will have received the same amount of flash exposure. Flash exposure is adjusted by the aperture. A wide aperture(e.g. f/2.8, f/4) will allow more flash light to pass through the lens, and a small aperture(e.g. f/11, f/16) will allow less flash light to pass through the lens.<br>

Suggestions and basic info: Photograph non reflective subject matter when testing the flash. Flash exposure is adjusted by the aperture, ambient exposure is adjusted by time(and aperture.)</p>

<p>Good recommendations, so far. Another option is to move the subject closer to the window, and close to the far side of the large window, so to get more "wrap-around" light on the far side of the face. Yes. Meter the highlights.<br /> <img src="http://www.bchristopherphotography.com/temp/temp/1qwesdf.jpg" alt="" /></p>

<p>In the above scenario, Toby is a documentary photographer, and you are a fashion photographer; who foolishly left your equipment with thieves in disguise, by the way. Sure, Toby won a photo competition with the photo he took(of your design), but we can almost certainly say that the judges will have chose his photo with the preconceived notion that he was responsible for more than simply pressing the shutter.<br /> <br /> Howbeit, there is the notion of "specialties." We expect a certain high level of knowledge in many of the related specialties within a specialty. For example, a symphony orchestra conductor will probably know much about the many different pieces of musical instruments and its players' abilities, on top of being able to wave a baton. A movie director is probably well familiar with set design, lighting, cinematography, acting, editing, etc., on top of the ability to follow the script and yelling "Cue", and "Cut!" Similarly, we expect a certain level of knowledge from all the different areas of photographic specialties. Simply put, there's more to photography than pressing the shutter.</p>

<p>My older brother, back in 1978 during the height of the oil crisis, made an even swap of his awesomely tricked-out Chevy Camero Super Sport with an ugly Volkswagen Bug, because of the gas mileage. I thought he was crazy, but he saw more value in the little Bug. The two cars are not a direct comparison to the two lenses - I haven't used the 35L, but I've used many of the L series lenses including the 24-70 - but rather, the idea of which item is more useful(therefore, more valuable) to the person. Good luck!</p>

<p><strong>Sravan</strong>, are you using a light meter? If so, it should be fairly easy to figure out settings and distances to achieve your goals. The hardness/softness of any light modifier has more to do with its size and distance to the subject than its reflective quality. Try not to venture too far from the traditional lighting patterns when learning - it won't be long before you feel comfortable setting up camera/light settings, modifiers, subject to camera/backdrop position, etc., within a few minutes. <br /> Minimizing blemishes using lighting techniques involves two key ideas: Size of light source and distance of light to subject. Larger and closer, equals softer.<br /> In between studio experiments it will be beneficial to research, learn, and understand the six qualities of light: Specular, Diffuse, Direction, Brightness, Color, and Contrast. Practice and learn the classic lighting patterns: Loop, Paramount, Rembrandt, and Split.<br /> <strong>Tim</strong>, thank you for the kind mention. After visiting your website, I realize it will be many years before I can demonstrate the level of lighting mastery your images show.</p>

<p><strong>Sravan</strong>, creative use of all tools is very much part of the art. You are not limited to the preset intensities of your lights when using them. Neutral density filters or window screen material will reduce light intensity effectively.</p>

<p>Fill light in portraiture should be placed directly behind the camera - as centered as possible, vertically and horizontally, to the lens axis. A fill light coming from this position will not create additional shadows visible from the camera position. Light coming from any other direction is technically not "Fill", but can be called "Kicker", "Accent", "Edge", or something else, depending its direction and effect.<br /> <strong>Sravan</strong>, it's good to see you experimenting with purpose. A good place to start in portrait lighting is the "Classic Portrait Lighting Patterns." There are many informative resources on-line and in print.</p>

<p>Lauren under 14th St. Bridge<br>

<img src="http://www.bchristopherphotography.com/temp/temp/laure.jpg" alt="" /><br>

5D 28-70 f/2.8 - 1/60@f/8 ISO400</p>

<p>I don't know the quality and differences of all the brands, but I think it's safe to say that the higher resolution and ANSI lumens, the better for large spaces. Especially if you must place the projector behind the audience. Models with optical zoom capability are desirable. Check specs for size/weight dimensions for mobility, because they do vary quite a bit. Replacement bulb prices can vary greatly too, and should be considered when making a brand/model choice.</p>

<p>:) I'm sure it's possible to fit all of them even in front of a smaller area. I think it's just a matter of your vision of the images. The more background area, the more options you have of placing your subjects. The smaller the area, the less options.</p>

<p>Additionally, the Rembrandt pattern doesn't work well on all faces. That is to say, facial structures with low brow lines and nose bridge, or low cheeks, will be tougher to light, if even possible. I understand you're using a mannequin head--if it's made for photography purposes, you should be able to.</p>

<p>You'll have a tough time fitting that many people in front of a 9' seamless(using it the traditional way.) I guess it's possible, but you will need to place your subjects very tight and photograph them tight(1/2, 3/4 length or tighter?) Even with a 10x20 muslin, if you don't want to show the edges of the background, it may be tough for full length shots. Tighter crops should be okay, since you can hang the muslin horizontally. </p>

<p>You do plan on mounting it on a tripod and use a cable release and bulb setting, right? I can't imagine any reason why your setup shouldn't work. </p>

<p>Are all pictures of the same girl? Do you only shoot head shots of babies? No phone number? Some of the crops are random and feel uncomfortable(technically speaking.) A simple design can be more effective. When creating marketing material, try not to be too attached to the subject. Rather, concentrate on capturing potential clients' emotions with the images.</p>

<p>You were pretty clear in your original post. The answer is pretty clear, too. There is no general rule on size of light for key or fill. There are many variables, along with size, which will affect the outcome(e.g., intensity, distance, reflective material, angle, etc..) If you use any set up, and you like it, it is right set up. I think, often, the question is whether a photographer knows which set up he likes or dislikes. That takes experience.</p>

<p>Amar, the first step to making great pictures is to learn the tools. You must be able to use the camera properly to consistently capture the image in technically sound manner. So, even if you don't understand a lot of it, be persistent and diligently read, and put into practice, as much of the technical information as possible. </p>

<p>A lab taking 3 to 4 weeks to fulfill holiday cards used to be pretty common(at least until about 5 or 6 years ago.) Some studios set up holiday shoots early(as in fall time), knowing the orders must be placed a month or two in advance to receive before the holidays. Apparently, labs are busy around this time of the year. My lab used to send me newsletters reminding me of the holiday order deadlines for certain products. The deadlines, as I recall, were in late November. A quick check on their website, lists a 3 day turnaround on cards, now. I use H&H.</p>

<p>I guess there's not enough demand for Penn to keep certain films in stock. It is strange that they've decided not to carry any of the Fuji films.<br>

<strong>Colbern</strong>, it seems your best bet is on-line ordering. Adorama, B&H, and Amazon have them in stock.</p>

<p>I don't shoot a D300, but the problem is interesting. I don't know that I've experienced the problem outside of the studio(when strobes don't fire due to my negligence, e.g., not hooking up radio transmitter, wrong shutter speed, etc.) Can you elaborate on the particulars of the problem? </p>

<p>What area of photography are you interested in? What is the main genre in your final images? How many images? Budget?</p>