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_________1

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    Monoblocs and the Generator

    in Lighting Equipment

    Posted

    Better yet, pose your question to Broncolor directly. If anyone should know its own products better than anyone else, it'd be Broncolor : info@bron.ch .

     

    My own hunch is that the EU20i works beautifully with all three C80 at the same time. The 1.4s recycling time hints at that. Switch to the slow charge mode for your own peace of mind for a gentler recycle.

    Monoblocs and the Generator

    in Lighting Equipment

    Posted

    James, I suggest that the best thing for you to do is to ask your Honda dealer on the EU20i. Better yet, take your Broncolors along and plug them all in. That's the way to find out for sure instead of relying on guesses. Not everything one reads on the forum is borne out of experience.

    gels and their use ?

    in Lighting Equipment

    Posted

    "Including your desire, ND, that comes in ND3 (-1/3 of a stop), ND6 (-2/3rds f a stop), and ND9 (-1 stop)."

     

    Sorry Eric, you're way off base here. An ND3 is -1-stop, ND6 -2-stop, ND9 -3-stops, {and ND12 -4-stops}. These are DIN numbers which means that a ND3 is actually 10^(-0.3) = 1/2; ND6 10^(-0.6) = 1/4; ND9 10*(-0.9) = 1/8; and lastly ND12 10^(-1.2) = 1/16.

     

    10^X means base 10 raised to the power of X.

    Yellow softbox

    in Lighting Equipment

    Posted

    Who's Melissa?

     

    Quote "I have personally taken a blue Rosco acetate filter and placed a yellow Rosco filter over it. The result I saw was GREEN. Argue with these results!" Unquote.

     

    Ok, I'll try. What is the colour temperature of your light source used to evaluate the Rosco Blue and Yellow filters? What are the exact names of the Blue and Yellow Rosco filters you used? What is the colour temperature of 'refrigerator white'? When you compared it to your walls, did you also take note of the colour temperature of the light source? If I showed you a patch of light of colour temperature 5500K, another of CT 6500K and a third of CT 7500, side by side, can you tell me which one looks 'white'?

     

    So, you estimate that a yellowed softbox is about CT 5200K. It is also made out of one part red and three parts yellow, according to you. Can you tell me what CT red and CT yellow make 5200K?

     

    Most of us require colour calibration instruments to calibrate our monitors and lights, you seem to be able to do it by eye.

     

    Gels are called gels in the industry by convention. Did you find out that they are no longer made out of gelatine just now? Nobody calls them acetates; everybody says GELs.

     

    For somebody with fifteem minutes to access the public terminal, you seem to have to time to write long verbose answers.

     

    You still have not told me how according to you, flash through 5200K (amber coated tube) plus 5200K (yellowed softbox) adds up to 4900K.

    Yellow softbox

    in Lighting Equipment

    Posted

    I have tried to refrain from commenting on Timber's postings and then this caught my eye:

     

    "If you use this yellowed softbox with an amber coated tube, then you would have about 4900 degrees which is slightly warmer than the above 5200 degrees"

     

    This is another highly suspect statement made by Timber. By your claims, if the yellowed softbox lowers the CT by 300 Kelvins and the amber coated tube lowers the CT by 300 Kelvins, putting an amber coated tube in the yellowed softbox DOES NOT lower the CT by 600 Kelvins to 4900 Kelvins! All you get is increased density and not a further change in CT.

     

    Get a colour temperature meter and measure it!

    Kodak Discontinues H1 ProBack

    in Medium Format

    Posted

    The Hasselblad H1 is what is available in the rest of the world. The Fuji GX645AF is only available in Japan. So, to accuse its fans of buying it just because it says 'Hasselblad' on its nameplate is grossly unfair; one doesn't have the choice short of importing the Fuji from Japan. What is one to do about its service? Fujifilm around the world is not likely to carry parts for it; it can only be serviced in Japan. There is no significant price disparity; one can check prices at B&H.com and Yodobashi.com for street prices.

     

    Call it a Hasselblad or a Fuji, it is one mighty fine camera with mighty fine lenses. To insinuate that it is a Japanese product trying to pass off as European is small-mindedness in the extreme. It is a known fact that it was designed with Hasselblad and is therefore a joint-project. And until one can prove otherwise, please do not accuse it of being merely a rebranding exercise. Facts are important.

     

    Jay obviously hasn't used it or he won't be harping on its provenance or nameplate as if it is all that matters. This is one sign of the gear-obsessed; those who use them as tools i.e. photographers don't give a gnat's ass about it. What's the point of broadsiding a camera that one obviously has no experience with?

     

    Responsibility for one's words are the mark of a mature intelligence.

     

    You know what Oscar Wilde said about a cynic: one who knows the price of everything and the value of nothing.

     

    You should troll somewhere else, Jay.

    diy "studio" lights

    in Lighting Equipment

    Posted

    First, if you use household lights, you should shoot film balanced for Tungsten. This should make your pictures slightly warm but it won't be objectionably yellow.

     

    Next, get a sheet of white acrylic or frosted glass. Place your heart and gooey stuff on it. You have to light it underneath. If you can find a globe lighting fixture, that will give you a wonderfully soft light. This is your light table.

     

    You will have to go to a theatrical supply store to buy a Lee, Rosco or GAM Tough Spun or Frost Gel. Make some sort of a cone with the top open and place it over your heart and goo. Shoot your lens through the open top. The idea here is make a light tent. This should give you a relatively soft and diffused light with little or no shadows.

     

    The other way is use to daylight film corrected with a magenta filter over the lens and fluorescent light. Make a light table as before with a white acrylic sheet or frosted glass. Light it underneath with fluorescent light. It helps if to diffuse this light further with a diffusion sheet. You may use a bank of them to give you decent exposure. This part is a little tricky. Find a doughnut-shaped fluorescent fixture; you will have to find some way of mounting it and its ballast. DON'T SHOCK YOURSELF. It can be one which is about 6 to 10 inches in diameter or slightly larger. Shoot your lens through the 'hole' in the doughnut. This gives you a ring light with the look of a ring light which you may find cool to a comic book fan. In place of fluorescent tubes, you may also use a doughnut shaped or globe shaped fluorescent fixture under the light table.

     

    Or you may light it underneath with flash diffused with Tough Spun or Frost Gel and build a light tent for your heart and goo and light that with another flash.

     

    It calls for a little experimenting to get it right but it will be affordable even for a comic bookshop clerk ;)

     

    P.S. You're really trying to light it evenly with no shadows. You have to make your light source appear 'large' with respect to your object thus the diffusion sheet over the light and the light tent.

    determining proper flash intensity for subject

    in Lighting Equipment

    Posted

    You can easily test it in the studio: select an aperture, say f4, which determines the power setting on the flash. Choose a range of shutter speeds from 1/15th sec to 1/500th sec, for example, as long as it syncs with the flash. Expose one frame at each shutter speed, at aperture or interchangeably, flash exposure F4. You will get the same flash exposure at each shutter speed setting. However, depending on the level of ambient light on your set, your ambient light exposure will vastly differ.

    determining proper flash intensity for subject

    in Lighting Equipment

    Posted

    Err, sorry Jonathan. I do not know if I read you correctly but shutter speed has no bearing at all on flash exposure regardless of whether it is within the studio or outside other than making sure that the chosen shutter speed syncs with the flash. Shutter speed does affect how much ambient continous light is captured i.e. how much the film is exposed to ambient light.

     

    That is because light from a flash comes in a fixed discrete quantum i.e. not a continuous stream. It does not matter how long the shutter remains open as long as it remains open long enough for the quantum of light to come through thus flash sync. At any aperture, you will get the same flash exposure on film regardless of whether it is 1/30th sec or 1/250th sec provided the shutter syncs at this speed. The amount of continuous ambient captured will however be vastly different. So it is true that if one sets a low flash sync shutter speed, ghosting will occur if the ambient continuous light level is high. Think of flash as a bucket of water and ambient light as a continuous stream of water.

     

    However, I am sure I misread you so please feel free to correct me if I am mistaken. What I have written is really Flash Photography 101 :p I had this mantra knocked into me: aperture is for flash, shutter is for ambient.

    Book of lighting exercises?! Does it exist?

    in Lighting Equipment

    Posted

    The Rotovision Pro-Lighting guides compiled by either Roger Hicks or Alex Larg often show rough light plots which could be tutorials in a sense. Steve Bavister's titles, also published by Rotovision, are in the same vein. If you have read Light, Science and Magic, you should be able to make sense of those light plots in the aforementioned guides.

     

    I understand your request for tutorials (someone should just cash and write some) but I feel that fear of making mistakes and 'not doing it right' is holding you back. Live a little. Make 'mistakes' and revel in them. Do not allow fear to hold you back because you already know far more than you think. You only have to be willing to put them into practice.

     

    Off my pulpit now.

     

    N.B. By the way, the details in these books are missing and the light plots and the information in the sidebars often do not tell the whole story or are wrong (intentionally?). Those photographers do not mean to give away their secrets so easily. I won't purchase these books but will look at them occasionally in the bookstores. Also, study the catchlight and shadow placement in any photograph; they often give the, uh, plot away. The Lighting Cookbook by J. Bidner is another one you can look at.

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