iain_b

I bought a full size Mannequin about 2 years ago and found it invaluable. The torso splits from the legs, so I can use it for portraits or for full length, the arms raise up or down and it has a proper "model pose" - one leg in front of the other, hands on hips or hands raised.

 

It is a great way to really learn the effects of diffent modifiers, light ratios, height of light, angle of light etc. Especially when working with film, I would draw the lighting diagrams with all the settings in detail and compare to the slides to see the effect of each change.

 

The main advantages are that the mannequin stays very still, and with the camera on a tripod you can vary one thing at a time and now with digital, you can see the effects instantly ( I would suggest tethering to a computer to see it properly on a decent screen)

 

I use if on almost every shoot to do the basic light setup. I plan my shoots in advance, often pracitisn gthe ligting set-up with the mannequin till I get what I want. When th emodel arrives, I know what I want out of each setup before hand, I don't have to do much other than fine tune the lights whilst the model/subject in position.

 

I can now concentrate on iteracting with the model, getting the most out of her during the shoot and not worrying about the lighting and whether it is right.

 

It is the best $100 I ever spent.

Alain, stick to the anti right click code, it stops "joe average" from copying down your images, if the previous two posters could not be bothered to use the on-screen navgation, tough luck for them.

 

Anyone can copy photos off a site, but make it a little bit more difficult, and most would not bother. I would not have a message - that is an irritation, just disable right click. If they are worried about using the mouse to click back or forward through the site, they can buy a four button mouse and set it up to do that.

 

Now putting the previous two "whingers" aside, in regards the images, I'm afraid I can't say I was inspired, they are "nice". I am not a fan of the very flat lighting you used, it tends to make thing - look flat. I prefer a bit more side-on lighting, even with large diffusion panels or softboxes, it creates a sense of the third dimention.

 

In general the posing is OK, but a little tense.

Not sure what you mean about the lens ring, but these lenses are so cheap they are not worth repairing - I have a 28-80 you can have for $50USD+shipping from Australia. It is brand new, came with the body and I already had a 28-105 so I have never used it.

I can't say much on the 800's, but when I looked at replacing the capacitors on an old 400e. The techie I spoke to in Brisbane told me that he had been looking for a long time for replacement capcitors, but they are a special size for their value. It was cheaper to buy a new light than get 6 new capacitors as they had to be specially manufactured.

If you plan on using a red filter for a portrait, you make-up has to done with that in mind. Best was to see more or less what you will get is too look at the model through a piece of red gel, you will notice how some colours blend together, but others increase in contrast.

 

If you shoot digital, then just use PS or similar, if you shoot B+W film, then use the filter. I think you just can't get the same effect in PS as you can on B+W film, nothing you can see on a computer screen, but the prints show the difference, even the C41 B+W prints look better.

I have a couple of these lights along with some 200D's, they may be basic but they are good solid workhorses, and they can actually be repaired fairly easily and cheaply.

 

It takes abut 30 seconds for it to "warm up" - the "slow charge" light will be on, when it goes off, you can fire away.

 

The weakest point is the power changing switch, which whilst it can be replaced, Bowens no longer stock the parts, so you have to find an alternative. To save the switch, do not change the power setting and fire it at the same time, it damages the switch, same goes for changing the switch whilst it is charging up.

 

Remember to dump excess power by firing the flash once or twice after turning down the power, I am not completely sure if it is necessary, but it is a worthwhile precaution for most older flashes

 

Apart from that, they are as good as any of the more modern monoblocks, but watch out for the massive sync cable voltages, they will kill all Canon's especially the digitals could damage most other cameras excapt the mechincal trigger like in the MF cameras. Buy a radio trigger or a safe sync.

I had the same trouble Mark, and ended up spending a fortune on sync cable that would last a few session, then if I accidentaly rode over it witht he camera stand, or pulled it out wrong it would become intermitant. I spent a small fortune over the past few years and was dead against using infra red or radio triggers becuase of the high prices until I found one imported locally here in Australia for only $200 AUD. It attaches to the hotshoe on the Minolta (with an adaptor) and on the Mamiya with a PC cable (I never had problems with the mechanical PC sync with cables on the Mamiya) and have not had a problem since. I still use cables, but these are only for extension for the slave cells, and are short and can seem not to have the problems of the PC sync cables on cameras.

Hi, I have a 9xi which I uses as a field camera and backup studio

camera. The problem is that it does not fire the strobes when I

connect it to the PC sync cable when I use the sync cable that works

on my main studio camera - a 700si with VC700. I used to have a sync

cable that did work, but that would not work on the 700SI.

 

I was wondering whether the polarity of the cable makes a

difference? Should I just make up an adaptor that swaps the polarity

for the 9xi or should it not matter and I should get the 9xi checked

checked out?

Why not ask the older model if she has a decent photograph of herself taken 25 hers ago, you then dress her the same as in the photo, and manipulate the photo into the frame - no mirror needed.

Randy - whilst they might have been done by computer, try get a sheet of ABS plastic, I have a sheet of 3mm black ABS plastic, I use car polish to buff it to a nice shine. It was cheap here in Australia, about $30 per 8'x4' sheet. I'll be buying a white one soon, and maybe a bright red one as well.<div></div>

Thanks for the comments guys, much appreicated.

My 700si did that a few times with Kodak film, then I got a cloth and cleaned the contacts/sensors where the camera reads the DX code on the film - no problems since then.

It is an old tress stump. Here is another one from the shoot, this time using just the tungsten modelling lights. Whilst the other one was shot on 6x7, this was 35mm using my 85mm lens on F1.4

 

Iain<div></div>

Another try<div></div>

A bit of experimentation with coloured gels and limited Depth of

field.

 

Comments appreciated

 

Iain

In regards customs and GST when buying a lens overseas, I recently bought an 85mm F1.4 for my Minolta, I shopped around a lot, with simialr experience to you - slaes guys just did not get the fact that I wanted a prime. The best price I could find was over $1850 and 4-6 weeks wait.

 

I decided to buy a used lens from KEH in the US - for $490 USD, add $40US shipping comes to $540USD - about $730 AUD, I added a 50mm F1.4 and an angle fined for another $150 USD so all up around $950 AUD. Unfortunately I was stung $50 custom processing by UPS and $95 GST so all up $1095 AUD. If is was not second hand good I would have had to pay another 10% import duty as well. If KEH could have sent in via the USPS I could have saved the $145 but they don't do that.

 

I got the new series lens for $100 less that what people were bidding for the old series lens on e-bay.

 

I am really happy with the lenses, they are in perfect condition, a new style G-Series 85mm(not the new D-series but that is not much matter to me, the camera shop did not have the new D-series either) and the older style 50mm but in perfect condition, they arrived in 7 days from placing the order, for just a bit over half the cost of a one new lens for which I would still be waiting.

 

Until I started shooting seriously, I used zooms exclusivly, but after I bought a 135mm F2.8 I realised just how much better the primes are.

My Bowens 400D has decided to stop working. Does anyone have a

circuit diagram for one of these flashes they can scan and e-mail to

me. These are relatively simple devices, just needs a few parts

replaced like I did to get my even older Courtney Solars working -

just need to work out which ones again.

 

Thanks.

The only "dog" Minolta I own is the 28-85mm Macro lens, just never seem to get good results, especilly compared to my latest aquisitions, a 85mm f1.4 G and a 50mm f1.4, they must rate as two of the best lenses Minolta has ever made. I had a metal bodied 50mm f1.7, but it succomed to "oil on the blades", not sure where the oil came from, but turned it into a fixed aperture F1.7 lens - as it would not stop down fast enough.

 

I prefer my 28-105XI powerzoom lens over the 28-85mm Macro lens, less flare, and quicker AF. Battery life is not a problem with the VC700 on my 700SI

 

I prefer the 70-300mm APO Sigma to the 100-300mm Minolta, the Sigma seems to focus quicker on all the camera bodies, and the images seem sharper.

I have a 7xi, 700si and a 9xi. All are great, the 700si is the easiest to use, the 9xi the most robust. I have a 500si, and single point AF was it's weakest link, but otherwise great little camera.

 

Lens wise, try the Minolta primes, I have a 135mm F2.8, a 85mm F1.4 and a 50mm F1.4. They are all an absolute pleasure to work with, very sharp and can be used to really limit DOF to millimetres.

 

I also have a 28-105xi lens, and since the 700si had the VC700 grip, battery life is not a problem. Its a nice lens, I use it for most of the travel pics / family shots. It is a lot better than the 28-80 Macro lens as far as flare problems go.

In short yes,

 

The main criteria here in Australia is whether the person is recogniseable. In other words, if you only take a picture of their body, you don't need a release but if you can see the facial features of the model enough to be recognised, then you have to have a release.

 

Best thing to do is to get a release signed before the shoot, no release no shoot. Then you won't end up with the model changing her mind and wanting to see the photos before signing the release.

Wlater, as an alternative, try hunting E-bay for a "Mecamat" for the 60CT1, I had the same problem as you do, and I mananged to find a brand new one in the bargin bin at the camera shop. One of the best accesories for the CT1 ever made, the Mecamat gives you full manual control, from full to 1/32 power output, and a host of other feature in auto contol including smaller spread on the sensor for long distance shots. Metz stopped making them a while back but I've seen a few on e-bay every now an then.

I've got two Metz60-CT1 flash heads, but only one battery pack/power

supply. I would like to run both off the one battery pack as there

are two "holes" that match the connector for the flash heads in the

battery pack. I was wondering if it is possible to do this, or will

it kill the only battery pack I've got left.

Thanks

I've got two Metz60-CT1 flash heads, but only one battery pack/power

supply. I would like to run both off the one battery pack as there

are two "holes" that match the conector for the flash heads in the

battery pack. I was wondering if it is possible to do this, or will

it kill the only battery pack I've got left.

 

 

Thanks

 

Iain

Hi all, I've picked up a Mecamat 60-30 for my Metz 60CT1, and would

love to know how to use it, the unit is brand new, but doesn't have

the instruction manual.

 

I want to use it as a remote flash, off a slave sensor. I need to

know how to vary the power settings, not so much the sensor readings,

but how to use it like a studio flash, with different power levels

etc. I'll be using it in the rainforests to provide a bit of fill

flash, using an on camera flash tend to lightup the foreground to

much. I use an RB67, so this flash suits it perfectly

 

If anyone has on old instruction manual and can scan it (or if you

don't need it, post it to me (I'll send the postage)) I would really

appreciate it. I've contacted Metz, but had no response yet.

 

Thanks

 

Iain Burgess

Sensual Image Photography

I was looking in my Minolta's handbook the other day and noticed a

section on a Type s and Type P filter, the Type S apparently removes

blemishes and fine veins when taking portraits of older women.

 

I was wondering whether anyone has experience with these tpe of

filter and whether this sort of filter is available in the 77mm size

for the RB67. I have been doing a lot of portrait work lately and

noticed that the super sharp 180mm c lens seem to highlight evey

blemish and vein.

 

From the very short write up, the filter works in the green

wavelength and corrects the slight redness of the blemishes.

 

Regards

 

Iain Burgess